DIGITAL DESIGN + FABRICATION SM1, 2017 Alison Fong
(830833) Josh + Group Number 1
1
2
3
4
Contents 1.0 Ideation 1.1 Object 1.2 Object + System Analysis 1.2 Volume 1.3 Sketch design proposal 2.0 Design 2.1 Design development intro 2.2 Digitization + Design proposal v.1 2.3 Precedent research 2.4 Design proposal v.2 2.5 Prototype v.1+ Testing Effects 3.0 Fabrication 3.1 Fabrication intro 3.2 Design development & Fabrication of prototype v2 3.3 Design development & Fabrication of prototype v3 3.4 Final Prototype development + optimisation 3.5 Final Digital model 3.6 Fabrication sequence 3.7 Assembly Drawing 3.8 Completed 2nd Skin 4.0 Reflection 5.0 Appendix 5.1 Credit 5.2 Bibliography
5
0.0 Introduction The material system I chose was the Panel and Fold system, where I studied the folding stool. Through exercises such as measuring, deconstruction, analysation and reconfiguration, we created a second skin design using abstracted design logics from the folding stool.
6
1.0 IDEATION 1.1 Object 1.2 System Analysis 1.3 Volume 1.4 Sketch Design Proposal-
7
1.1 Object
8
9
Digital Model
ELEVATION
ISOMETRIC
10
6
TOP
Digital Modelling Process
1. Building guides based on the different drawings, mainly used ‘polyline’ and ‘curves’ for rounder edges, then ‘mirrored’ most of line work as stool is symmetrical
2. Position curves into correct positions for preparation of extrusion
3. ‘ExtrudeCrv’ is used and a solid volume is produced, then rotated so they fit in place with each other. I also placed them in different layers and changed their display colour for easier identification and placement.
DIFFICULTIES
Joint Issues - It was difficult to have all the joints join up in place as the drawings did not reflect a lot of the overall measurements in real life, such as the actual depth of the joint itself. Hence it was at times an estimate and trial-anderror approach in order to have them fit perfectly together.
11
1.2Analysis System Analysis
Triangulation: Used as an economical method to strengthen stool; requires less material to provide strength
Hole/ Empty space in between: Save on material and still provide same amount of stability
Material: Plastic; cheap to produce at large quantities
4
Critical Joints: The joints are slotted as tongue and groove. It allows for the stool to be folded back as a flat pack and ensures that the stool is stable when sat on
1.3 Volume Through the measuring of the folding stool, I came to realise the small details that make the object work the way it is (Heath, Heath & Jensen, 2000). One of the small details that I noticed was the rotational joineries that make the stool foldable. I was intrigued by the joints that were used in the stool and realized that I could elongate one piece and still apply the same circular movement. So combining a dowell and flat balsa wood pieces, I created a structure based on the movement of the joints seen in the stool, as well as utilised the joints themselves in my design.
1.4 Sketch Design Proposal
Sketch Design #1 Flexibility, Movement, Boundaries
ELEVATIONS (FRONT)- when model is opened(left) and closed(right)
I was inspired by the joineries in the folding stool and decided to use the same joints in my sketch design, to compliment this is the layering of these panels, where they can be easily controlled by the user, depending on whether they want to expand or decrease their personal space. This design focuses on the uer’s frontal side as people are less tolerant of strangers when they are in front of them (Sommer, 1969).
How does this respond to your personal space? MOVEMENT- diagram of how the design looks when closed (top view)
It’s movement reflects our ability to change our personal space according to the individual or people we are with, but also time of day.
Sketch Design #2 Restrictions, Enclosure, Defensive
PLAN - when model is opened
ELEVATIONS (FRONT)- when model is opened
This design focuses on building an enclosure around the user’s body, responding to Sommer’s idea of how our personal space is almost like a soap bubble or a snail shell(Sommer, 1969). It is some where we feel most at ease, and so to protect this area there needs to be a boundary set between person and non-personal space.
How does this respond to your personal space? MOVEMENT- diagram of how the design opens according to owner’s needs
Reflects on our reaction (psychological withdrawal) towards the unknown space/individuals/time and how we enclose ourself from the outside to protect our personal space.
Sketch Design #3
ELEVATIONS (FRONT)
Invisible, Camouflage, Disappear, Reflection
PLAN
This design takes on the idea of hiding away your personal space and by doing so is to scare people away. The panels are mirrors that reflect the surrounding environment. So if a stranger looks at the user, all they will see is their own reflection, and they may feel a sense of discomfort, hence leading them to keep a distance from you.
How does this respond to your personal space? Express our discomfort of intrusion of our personal space when we feel our glance from other individuals, and the feeling of wanting to be unseen. MOVEMENT- when a stranger looks at you they see their own reflection instead
2.0 DESIGN 2.1 Design Development Intro 2.2 Digitalization + Design Proposal 2.3 Precedent Research 2.4 Design Proposal v.2 2.5 Prototype v.1 + Testing Effects Team Mates Yueting Yang Tong Wu (Vera)
Sketch Design Development 2.1 Design Development Intro
Our concept is based on the use of Our concept is based on the use of mobile phones, where we want to mobile phones, where we want toit is investigate the scenario where investigate thetoscenario where it is dangerous walk and use your mobile phone, as mobile dangerous to walkalso andknown use your ‘phoning’. phone, also known as ‘phoning’. According to research done by Western According to research done by Washington University, itUniversity, showed that Western Washington it ‘phoning’ our situational showeddecreases that ‘phoning’ decreases our situational awareness and can lead awareness and can lead to ‘inattentional to ‘inattentional blindness’, which blindness’, which is the inability to is the inability to detect new stimuli detect new stimuli (Giancaspro, 2016). (Giancaspro, 2016). Pedestrian behavior requires the combination our different senses, Pedestrian of behavior requires the but combination of our different senses, ‘phoning’ compromises these skills and but ‘phoning’ compromises these information processing. In relation to skills and information processing. In personal when space, using our phone, relationspace, to personal when ourusing personal space our is smaller; limited to our phone, personal space is smaller; limited to whatever they whatever they can actually sense while can actually sense, hence we using their device, hence we would would like to achieve a model that likeactivates to achieve model thatsenses activates ouraperceptual and ourallow perceptual senses true and personal allow for for a person’s space totrue be personal realised. space to be a person’s realised.
2
Red model indicates the visual perception when usingbody, your phone andsaw shows visionpersonal focusedspace Our is based off our group mate Vera’s where we thatthe ouruser’s mostfrontal vulnerable downwards. Blue is when the user is not using their phone and shows the user’s frontal vision being striaght was on the front, and when phoning we thought that this personal space was not as strong as when she is not ahead, more attentive of their surroundings phoning.
2.2 Digitalization + Design Proposal v.1 2nd Skin proposed design V.1
6
2nd Skin proposed design
Refined Sketch Model Pleat Using the idea of developable surfaces, we incorporated our material system of folding and panelling with techniques used in ‘curved folding’.
we used the pleat design and simply rotated and enlarged some panels more than others, however we found that despite beingUsing able tothe limit idea the user’s vision of their phone, we not able to create a volumetric design as it was a design that had less of ‘curved folding’, wewere created several panels that focused framework, and was more focused on aesthetics. on obstructing the user’s frontal vision to prevent them from folding. This pleat
design was simply multiplied, enlarged and rotated, then placed on around the head of the user. However we found that this design did not accomplish our aim completed and also did not obstruct arm movement, where phoning often involves the lifting of the phone towards the upper torso.
Plan
The digital model is produced from drawing the guiding lines and then extruding them into curves, and finally mirroring it to form one unit. The module itself is made from copying and rotating the units so that they form a ‘floral’ pattern.
Perspective
Side Elevation
Digital Model Process
We maintained our design as a developable surface, knowing it is important in order to be able to imrprove our design in the later modules, it needs to be workable. The curved elements are similar to the helix surfaces, where these surfaces can be broken down into several tangents (Asperl et al., 2007). This is similar to the guiding lines that we had to intially build our Rhino model.
2.3 Precedent Research
‘Veasyble’ by GAIA features a panel and folding structure, which extends over the human body, exploring the conceptual barriers between the human form and the urban environment. The concept of folding is effectively done so by constructing an intricate pattern that symbolizes the beauty of geometry, with slight hints to the Elizabethan period fashion and the ruffed collars. This structure is designed to transform, being adjustable and extendable.
1. Veasyble, GAIA (2009)
We implemented the precedent into our model by experimenting on how we could volumize our design, but also dwell on the idea of how our design could create for an intimate relationship with the surrounding environment for the user. ‘Veasyble’ is made from triangulated panels that are joined and folded together, to create a collapsable interior. This interior can be pulled up and down depending on the user’s preference. The triagulation also creates a visual effect with the geometrical pattern that is repeated over the structure, but also because of the valley folds, where the light reaches one panel more than the other and thus creates depth to the structure.
Triangulation seen in ‘Veasyble’, as light is shone on it, each triangle is alternating on whether they are brightened or dimmed
esign pleat d and ore found o limit hone, ate a as a mework, on ed for
aesthetics. So we improved for V2.
2nd Skin proposed design V.2
2.4 Design Proposal v.2
9
We duplicated a certain component that we shaped based off the pleat design and rotated it as well as copied it in various shapes to experiment the visual qualities they presented. We aimed to try and create a volumetric space between the user and the model. Our final model, was arranged by intersecting some of pieces together. These panels are positioned so that they do not obstruct the user’s vision, similar to our first design, but also restricts the user’s arm movement to a certain degree, to stop them from phoning.
9 8 From our previous prototype, we found that we were not developing a volumetric design and wanted to approach it in a more logical and geometrical method to explore more of our folding elements. Hence, we approached our design using the method of abstraction, which meant that we needed to fine a rule that would be simple, whilst accommodate the majority (Schuerer and Stehling, 2011). To solve this issue we regulated our folds and rotated the units at the same angle, to create our pleat module, also implementing inspiration from our precedent ‘Veasyble’, where we wanted to create a conceptual barrier for the user themselves, creating guiding planes which would force them to interact with their surroundings.
9
Plan
Perspective
Front View
2.5 Prototype v.1 + Testing Effects
Ivory Card (Left), Polypropylene (Right)
For our prototypes, we tested different materials, which included ivory card and polypropylene.
2ndtoSkin proposed Ivory card proved simple to bend and fold, however was not able withstand the tensiondesign between the bends and would crack apart as soon as we folded them. Polypropylene was a lot more flexible, and was able to withstand the tension between the folds. However, as we did not manage to get a clear cur on both sides ofmodels the materials, For previous of design we had to physically bend the material ourselves, despite the labour this proved tothe be pleat a more V.1, where we used design and simply rotated and promising material for its strength and durability.
enlarged some panels more than others, however we found that despite being able to limit the user’s vision of their phone, we were not able to create a volumetric design as it was a design that had less framework, and was more focused on Using aesthetics. some of our bent panels,forwe also So we improved built a small prototype using tape and V2.
string to connect them together
V.2
Testing Effects
We foundthat thatour our pleat designs would show different lighting patterns, when seen from a different angle, We found pleat designs would show different lighting patterns, when seen from a different angle, and wouldand also would changealso depending change depending on how the light shone through to it. Also assuming the pleats were more corrugated would also allow on how the light shone through to it. This effect is applied on the basis that we wanted to attract other individuals to interact with us, and this for a occupation volume,amongst creatingothers. depth to the model, in addition to this the use of clear polypropylene would create an effect would attractofattention interesting appearance, playing on the visible and invisibility the user would but also it wouldthan obstruct theonuser’s the instead. same As sight is an individual’s most dominant sense, we thought that thisof approach be how the strongest adding othervision elements way as well, with it’s blurry texture. As mentioned in the lecture, sight is an individual’s most dominant sense, and we thought that this approach would be the strongest than adding on other separate elements.
21
3.0 FABRICATION 3.1 Fabrication Intro 3.2 Design Development & Fabrication of prototype v.2 3.3 Design Development & Fabrication of prototype v.3 3.4 Final Prototype Development + optimization 3.5 Final Digital Model 3.6 Fabrication Sequence 3.7 Assembly Drawing 3.8 Completed 2nd Skin Team Mates Yueting Yang Tong Wu (Vera)
3.1 Fabrication Intro
From M2, we continued with our concept of the realization of a person’s true personal space, in this case using the scenario of ‘phoning’. Our explorations in this module had us investigating the intensity of our curvatures from curved folding, and how it allows for an interesting visual effect under lighting, as well as the creation of volume with our second skin, through overlaying and also intensity in our corrugations. We also experimented on our joint systems, trialling different material and methods to ensure that we gained a rigid enough joint to make our second skin self-supportive.
3.2 Design Development & Fabrication of Prototype v.2 Design development + fabrication
of Prototype V.2
In our digital model we further adding on elements of overlapping towards the left side of the upper torso and the left side of the lower part(because Vera is a left-hand user), to create volume in our second skin. Our design also combined our pleat design modules that were rotated around the body, to form enough space for our model in between. In our digital model we further adding on elements of overlapping towards the left side of the upper torso and the left side of the lower part(because Vera is a left-hand user), to create volume in our second skin. Our design also combined our pleat design modules that were rotated around the body, to form enough space for our model in between.
In our digital model we further adding on elements of overlapping towards the left side of the upper torso and the left side of the
4 lower part(because Vera is a left-hand user), to create volume in our second skin. Our design also combined our pleat design
modules that is rotated around the body, to form enough space for our model to fit in between. As a maker, we were using digital design tools to further realise our ideas and generate innovation in our design, and we were using adding techniques, such as weaving, and subtractive techniques, including cutting and drilling, and finally transforming techniques, which was our bending of the polypropylene to create our model (Charny, 2012).
4
To join the two units together, we’ve created a stitching pattern, which we used string to fix them up together. These joinery allowed for flexibility and for the units to fold at certain angles. The stitching pattern consisted of alternating the string from one end to another, creating a criss-cross effect, which maintained both the strength and flexibility of the unit.
1 10
2
3
4
5
3.3 Design Development & Fabrication of prototype v.3 For our last prototype we focused on testing our joineries and explored different joining methods. This was an issue that cannot be solved in our digital model and so we had to trial this physically. We were consistent in attempting to find a joinery that would provide us with a rigid, but flexible joint, allowing us to bend the polypropylene without it cracking at the joint due to tension. Our first attempt saw us using metal rings, where we would puncture holes at the ends of the units and simply slot the ring through,however it was not as rigid as we had expected and was not aestheticaly pleasing at all.
Our second attempt, we tried using rivetts to hold the pieces together, however they would break after we tried to flex and bend the pieces together, and did not provide the rotational flexibility that we were after either, though was a very rigid joint. Our last attempt saw us using cable ties, this was one of our most favourable material, as not only did it provide us with a rigid joint, but we were able to tighten the joint easily to provide the rigidity it needed. However the only things that we were not satisfied with was again how the cable ties did not provide the right aesthetics. So in the end we reverted back to using string, and we focused on tightening the units so that it would be able to withstand itself, but also remain hidden from sight.
While fixing our prototype joineries, we also investigated physically, shifting back to the physical workmanship of risk with working with our hands (Marble, 2008), as we wanted to trial designs that were not neccessarily numerically processible, but was more or less up to our imagination. During our exploration we found that the different forms could emute different emotions to how the second skin is perceived. When the second skin is pointy, it is seen as offensive and is less welcoming, however when the curves are pointed towards the model rather than the outside, the form is more welcoming and is seen as more prone to engaging with the environment.
3.4 Final Prototype Development & Optimisation Looking at other precedents for inspiration and additional research, we approached Mauricio Velasquez Posada’s ‘Origami Dresses’. These wearable structures exude depth through repetition and overlapping of elements, which create volume and elegance. Using our own units, we decided to utilise the transparency of the polypropylene when placed over one another would filter the lighting shone through it, which would help display the intricate folding patterns when back light is shone through, adding on to our visual effects. On the other hand, it would also help us create depth to our second skin, allowing for a more engaging design.
2. Origami Dresses, Mauricio Velasquez Posada (2010)
Photos showing transparency effect
Sketches of our final protoype development
Apart from simply utilising the overlaying of the panels, we realised that the size of our panels could also play a role in our visual effects, allowing for different volumes to be created, and producing an engaging visual impact to viewers. This was again, an experimental innovation where our fabrication process and prototypes become blurred together, and produce innovation (Iwamoto, 2009). And rather than discovering this in our digital model, we were more experimental with our phyiscal model, as we felt more in control of our design by doing so, however digitally, we were also able to reproduce this, all due to the new language of digital design, where we are not only able to go from digital model to physical modelling, but also vice- versa.
Templates from our different prototypes
35
Another issue that we had was the collapsing of the units at the bending points of the module. This was not solved by the different spacing of joinery and thus we had to change our base template itself. As we had regulated our folds in M2, once we change the shape of our 2D base template, we end up with a different 3D volumetric shape after it is built. To prevent the ends from collapsing onto each other, we noticed that we could subtract the amount of surface produced by the template, rather than completely changing the shape of the built form. This idea being similar to the subtractive method, as mentioned in Kolarevic’s “Architecture in the Digital Age“ (2003), where the method invovled a removal of material from a solid form during fabrication. Hence, we cutted off a portion of the shorter end of the template, to eliminate the chance of the two units coming into contact when they are joined(stitched together) and bent, and it would also allow for more inner space for our model. Although mentioned in earlier that during the fabrication process, it is important to maintain a general rule, which would fit the majority (Scheurer and Stehling, 2011), we found that our templates were different for our three different modules that formed the whole of the second skin. However, although the base template is different, the shape produced is still similar and the folds were not changed at all, we also maintained a strict unison of joineries, making sure that they were all the same to avoid differentiation within the second skin, which could affect its form. M2 Template
36
M3 v.1 Template
M3 v.2 Template
3.5 Final Digital Model
Plan
Right Side Elevation
Front Elevation
37 Axonometric
3.6 Fabrication Sequence
38
3.7 Assembly Drawing 1
1
2
3
2 3
39
3.8 Completed 2nd Skin
40
43
4.0 REFLECTION
44
The digital age has brought along many innovative and new techniques that have changed the way we fabricate and approach design. From the Industrial Revolution, we have been able to achieve more than we have ever with design and craftsmanship, building has never been more efficient and innovative than before, however as we purge into the new age of technology, we begin to move away from mass production, which had been the initial goal of Industrial Revolution - everyone would be able to afford and buy products that used to be a luxury to the few; it was an innovation for the majority. We begin to look at the design of distinct, where we are able to customize and reproduce designs at our own knowledge and control. It is the start of the Third Industrial Revolution, where small craft producers are emerging into the market, and utlising what has already been laid out for our general consumerism, they are able to advance with ease into the business (Rifkin, 2011). Through this subject, the challenge was most definitely creating our digital model, with the little knowledge we had on CAD systems such as Rhino, it was a tough task to deal with and despite the infinite designs we could have made for this project, it was always up to what knowledge we had of the material and whether or not the prototypes were successful; it was always about the smaller things that we had to change the big picture - our final model. The joineries was one of our most frustrating issue with our project, as thsi was something that we lacked experience in doing both physically and digitally, and we relied on constant prototyping and experimenting, moving back and forth between methods to come to a proper solution. From the risk of the worker’s hands, we have shifted it to the worker’s mind (computerized), where we are able to realise our designs digitally, relying on our mind and knowledge to control our design, rather than pure imagination is is now a combination of that and numeric processing (Marble, 2008). Our relationship between technology and design is continuously blurring and we are thus able to generate new ways of fabrication and design thinking processes, but at the same time, we begin to be more reliant on our technology, which is a risk that has simply just shifted from the human imagination to our digital processing. With risk however, we are able to include in our designs culture and resilience, creating a new innovative moment in our realisations. Despite the challenges that we faced, we were able to grasp on to what we could, creating several alternative solutions along the way, and it was a fruitful experience to have to solve these with our own hands and minds. Learning to drive towards a goal and the care of being a maker is a lesson well learnt through this project. The satisfaction from facing your own hand made design from the labour of weeks and nights is truly inspiring, and is definitely a hidden treasure that will remain in the design industry, no matter how many more Industrial Revolutions or technological innovations there are in the future.
45
5.0 APPENDIX 5.1 Credits 5.2 Bibliography
46
5.1 Credits CREDITS Page
Drawings
Computation
Model Fabrication Model Assembly
Cover
Photography r
6
r
7
r
Writing
Graphic Design r r
Page
r
51
r
52
8
r
r
r
53
9
r
r
r
54
r
55
r
r
56
10
r
11
r
12
r
r
r
57
13
r
r
r
58
r
r
59
14
r
15
r
r
r
60
16
r
r
r
61
17
r
r
r
62
r
63
18 19 20
r
21
r
r
r
64
r
r
r
65
r
r
66
r
r
67
r
r
68
r
r
r
69
r
r
r
70
r
r
71
r
r
72
r
73
r
r
74
r
r
75
r
rr
rr
r
22 23
rr
24
r
25 26
rr
27
rr
rr
r
28 29
r
30 31
rrr
rrr
r
r
r
76
32
rrr
rrr
r
r
r
77
33
rrr
rrr
rrr
r
r
78
34
rrr
rrr
rr
r
r
79
r
r
80
r
r
81
r
r
82
r
83
r
84
35
r
r
r
36
r
37
r
38
rrr rrr
39
rrr rrr
rr rr
r
40
rrr
rrr
rr
r
85
41
rrr
rrr
rr
r
86
42
rrr
rrr
rr
r
87
r
88
r
89
43
r
r
44
Drawings
Computation
Model Fabrication Model Assembly
Photography
Writing
Graphic Design
Cover
45
r
r
90
46
r
r
91
47
r
r
92
48 49 50
r
r
93 94 95
Alison Fong Yueting Yang Tong Wu
47
5.2 Bibliography Asperl et al., 2007, Surfaces that can be built from paper / In H. Pottmann, A. Asperl, M. Hofer, A. Kilian (eds) Architectural Geometry, p.534561, Bentley Institute Press, Charny, D. 2012: Thinking through making/ In Fraser, M (eds) Design & Making p.28-37, Danish Crafts, Copenhagen. Giancaspro, M 2016. â&#x20AC;&#x2DC;Should using your mobile phone while walking be outlawed?â&#x20AC;&#x2122;. The Conversation, 12 April, accessed 2 April 2017, <http://theconversation.com/should-using-your-mobile-phone-while-walking-be-outlawed-57542>. Heath, A., Heath, D., & Jensen, A. (2000). 300 years of industrial design: function, form, technique,1700-2000 /Adrian Heath,Ditte Heath, Aage Lund Jensen. New York : Watson-Guptill. Iwamoto, L, 2009, Digital fabrications: architectural and material techniques / Lisa Iwamoto. New York : Princeton Architectural Press, c2009. Kolarevic, B. 2003: Architecture in the Digital Age - Design and Manufacturing /Branko Kolarevic. Spon Press, London. Marble, S, 2008. Building the Future: Recasting Labor in Architecture/ Philip Bernstein, Peggy Deamer. Princeton Architectural Press. pp 38-42 Rifkin, J 2011,The third Industrial Revolution. Palgrave Macmillan. pp107-126 Scheurer, F. and Stehling, H. 2011: Lost in Parameter Space? IAD: Architectural Design, Wiley, 81,w4, July, pp. 70-79. Sommer, R. 1969. Personal space:the behavioral basis of design /Robert Sommer. Englewood Cliffs, N.J. : Prentice Hall, c1969. Figures 1. Hernandez, R 2010, Veasyble, photograph, Yatzer, accessed 2 April 2017, < https://www.yatzer.com/Veasyble-by-GAIA>. 2. Posada, M. (2010). Origami dresses, photograph, Pinterest, accessed 15 May 2017, <https://it.pinterest.com/pin/139963500889881267/>.
48