DIGITAL DESIGN + FABRICATION SM1, 2017 M1 JOURNAL - Moose Head Amani Eljari
757362 Matthew Greenwood
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Measured Drawings
A-A
Plan 1:2
Measurements of the moose head were 307mm
given with the instructions of assembly. I then checked these using a ruler to match each side to its respective measurement.
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235mm
I purchased a moose head construction kit from Australian Geographic, and constructed it at home. This helped me understand how each flat piece works together to create a 3D object. It can be taken apart and re-
Elevation 1:3
constructed easily, which allowed me to further inspect and understand its form.
Section A-A
1:3
285mm I then scanned the finished object from different angles. Using photoshop, I brightened the images and then printed them out and used trace paper to guide my sketches of the plan, elevation, and section. Once I had done this, I checked my drawings against the model and filled in the gaps.
285mm 3
Analysis
Similar 2D pieces of varying size and form are used to create the 3D moose head. This shows how flat pieces, when used together can create form; demonstrating profile and section.
Each piece of wood slots into the gap of another piece. The wood travelling in two directions makes the whole structure stable and gives it strength that the individual pieces lack on their own.
The components of the moose head form both a primary and secondary structure. The vertical pieces stand freely on their own from the base whereas and horizontal pieces must slot into these and then proceed to add strength and stability to the object. The figure on the right depicts the gridHorizontal and vertical pieces slotting in together.
like form that is created. Grid-like pattern.
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In the workshop in Week 2 tutorial, we played around with another profile and section system. It acted in the same way as the moose head in that each flat piece could slot into another to eventually create a 3D object.
Back view of workshop model. Unlike the moose head that created a very grid-like structure, we explored different techniques and ways to push the boundaries of the system. We were able to create forms that went in directions other than straight up/down, left/right. Another challenge we faced was gaining height with the model. It was difficult to manipulate the material and system to make it go the direction we wanted but through many trials, it started to work.
Side view of workshop model.
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Digital Model
To create the digital model on Rhino, I first scanned all the pieces that make up the moose head. I put these on Rhino using ‘Picture Frame’ and then traced their outline using curves. Once each piece was joint and trimmed I extruded it to 2mm thickness and slotted it in the correct place. As I got each object in place, I changed it to a locked layer so it wouldn’t move as the object got very complex as I kept going.
Front Elevation
Plan 6
Left Elevation
Back Elevation
Right Elevation
North-East Isometric
North-West Isometric
South-East Isometric
South-West Isometric
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Sketch Model
I reconfigured the pieces that made up the moose head so that it became a more warped, asymmetrical model that played with different angles, heights, and layers.
Plan
Front Elevation
When creating the model, I experimented with creating many different layers at different heights. I wanted to stear away from the basic grid-like pattern that occured with the moose head. I want to create a more fluid, wave-like form where straight piece form a curved shape.
The shadows here accentuate the placement of each piece.
From above
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Profile and section is prominent in this model as each piece relies on another to keep it stable. With the moose head there were three primary vertical elements; however with this model I have decided to only use one. I found that this did not jeopardise the stability of the model. The connections made by the slits in the wood are so secure, that very minimal support is needed for each piece.
Right
Left/Back 9
Sketch Design #1
CLOSED
PRIVATE PROTECTIVE
Material: wood It’s a protective barrier for someone who is quite shy and closed off to other human interaction. Wood is non-translucent and a strong material that could efficiently create this barrier.
Side view How does this respond to your personal space? A protective layer that mimics the invisible boundaries of the wearer. Aimed towards a very private, introverted person who does not wish to interact with strangers while also keeping distance from people they
Front view
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know. The pieces flare out in all directions although are longer around the front where the most space is desired.
Sketch Design #2
BARRIER SHIELD DEFENSIVE
SHARP
How does this respond to your personal space? This is a very defensive structure with the long, pointed edges that almost threaten anyone from intruding into the personal space. It protrudes further around the torso than around the shoulders based
Front view
on different ideas of personal space amongst different persons. 11
Sketch Design #3
FLUID OPEN WELCOMING
Material: plastic A translucent material like a plastic is suitable for this model as it mirrors the openness and inviting nature of the structure.
How does this respond to your personal space? The structure is very welcoming with the outwards curved ‘arms’ that can be compared to arms open for an embrace. It is quite softly curved and fluid as opposed to being closed off and stiff.
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Front view
Side view
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