Module 4 tze way ng 737960

DIGITAL DESIGN + FABRICATION SM1, 2016 M4 JOURNAL_REFLECTION

Tze Way Ng (Amos) (737960) James Park + Group #2

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SECOND SKIN SLEEPING POD

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// 0.0 INTRODUCTION _6 // 1.0 IDEATION _8 1.1 Object 1.2 System Analysis 1.3 Volume 1.4 Sketch design proposal 1.5 Reflection // 2.0 DESIGN _16 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 2.6 Reflection // 3.0 FABRICATION _30 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 3.9 Reflection // 4.0 REFLECTION _56 // 5.0 APPENDIX _60 5.1 Credit 5.2 Bibliography

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0.0 INTRODUCTION Where sleeping meets designs.

This subject calls for an innovative design of a sleeping ‘pod’ that uni students would use in library,union houses or any desks to take a power nap whilst making it a wearable and volumetric skin/envelope.

The idea of personal space is to be conveyed through the design piece making sure that the users feels comfortable and never uneasy to take a nap anywhere ,anytime.

The project goes from Ideation.Design.Fabrication.

Reflection as we explore and learn to use the digital tools and fabrication techniques.

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1.0 IDEATION // FAN

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1.1 OBJECT // FAN

210mm

PLAN 190mm

30mm

20mm

SECTION // FOLDED SOUTH ELEVATION // UNFOLDED

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RHINO PLAN

RHINO ELEVATION

RHINO PRESPECTIVE

// The fan was measured by first taking birdeye view of the photo then tracing over the photo to get a rough idea of the fan’s shape . Then the dimensions of the fan elements are independently measured to get an accurate measurement of it. The stick behind the paper are also drawn for better understanding of the system structure. The angle of the folded fan at resting position is noted using protractor and ruler.

// For digital model,i scanned the measured drawing and traced it in Rhino. Only one single element of the stick+paper fan is built using the command ‘pline’ and ‘crv’, as the fan is a repetition of the single element. Then,polar array is used to create the repetitive pattern in rotation with set angle and z-axis offset so that it rotates with decrement in height for each element repetition.

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1.2 SYSTEM ANALYSIS // FAN

// The pivot (dot at the bottom) is the main structural feature allowing the fan sticks stacked ontop of each other to rotate out. It opens by pulling the top stick away from the central origin position and the rest of the sticks will follow as the fan paper glued to the stick pulls it along.

// This system only works when both the sticks and paper folds are present. Without the sticks , it would be harder to open and fold back in the paper folds. With preset length and preset folds, it ensures the stick to only rotate within 180 degrees and with a resting angle of 45degrees between the paper folds, creating volume. Extra force to open the folding will only result the paper to flatten.

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1.3 VOLUME // FAN

// During week 2’s studio , the exploration of hexagon shape planes modified into a volumetric object made me realise that by making cuts at the edge ridges allows for more possibilities in folding the plane .

// With this , i explored the possiblity of different direction foldings with a forward bend to get a more evident volumetric 3D object through foldings within foldings.

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1.4 SKETCH DESIGN PROPOSAL // FAN

// A design that draws the most similarity

// This design emphasises on total

// The third design emphasising on

to the sketch model reconfiguration,

privacy with a full enclosure of the

keyword ‘convertible’ , the design

with foldings within foldings that sits

face whilst still providing vision with slit

allows for changing level of personal

like a headpiece whilst providing an

cuts made vertically in the middle of a

space as required with a folding design

aggresive look like medusa’s serpent to

square to allow folding and thus vision.

utilising the folding within foldings

ward off people warning the personal

technique as in the reconfiguration

space required.

model to do so. The design model could be folded forward stacking it up to make a envelope or just a layer for resting pillow . This provides the comfort on top of the varying personal space.

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1.5 REFLECTION // FAN

// In this module , the given task of drawing out the fan on paper and digitally on Rhino was a starting point on how drawings can be translated from different mediums to another. The measurements taken are meant to be measurements that has purpose and objective truth to it as Heath,Heath and Jensen’s (2000) 300 years of industrial design’s mentioned and dimension written for the object drawn only has dimensions that are objectively useful.

The measurement of the actual fan also helps me to make a true to size model as i could key in the exact length or height of the fan . This was also a great starting point for me in learning to make models in Rhino and learnt that there is always a faster and more efficient way of doing thing in Rhino , like polar array instead of copy pasting 20 similar elements.

The system analysis model making got us to start exploring design possiblities through model making which influenced my sketch design proposals in the end. Sommer’s (1969) book on personal space helped me identify what kind of personal space i would need and how people have different kind of personal space requirement depending on the social situation and environment they are in. This greatly influenced my thoughts and rationale behind the sketch design proposals made.

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2.0 DESIGN Amos x Siyu

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2.1 DESIGN DEVELOPMENT INTRO

// From the last module proposal #3 , the concept of foldability (foldings within foldings) with ‘convertible’ is taken forward as i wanted to integrate a design that utilises the folding property of the fan

FRONT ELEVATION

SIDE ELEVATION

paper and the varying personal space

// By drawing from the Sommer’s reading on Personal Space (1969)

the design proposal was

, we defined our varying visual personal space boundaries based

able to provide.

on the type of acquaintances they meet . This is shown by the two coloured boundary. A more familiar acquaintance allows closer space interaction and less familiar ones further distance away .

The boundary also takes into consideration that the vision directly infront of the eyes demands more space as well as the back of the shoulder as people hovering behind it made us felt uncomfortable as well as invading privacy of whatever we were doing.

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2.2 DIGITIZATION v.1

ISOMETRIC VIEW // FOLDED

ISOMETRIC VIEW // UNFOLDED

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2.2 DIGITIZATION v.1

SIDE ELEVATION // FOLDED+UNFOLDED

FRONT ELEVATION // FOLDED+UNFOLDED

PLAN // FOLDED+UNFOLDED

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2.2 DESIGN PROPOSAL v.1

// This design refers back to the design development intro from Module 1 and the personal space defined by us.

We approach the design by trying to have an envelope around the neck that could be adjusted at the front through folding and unfolding to allow user the ‘convertible’ adjusting levels of envelope according to their use and level of personal space reuquired.

When closer acquaintance approaches, the envelope could be folded down for better vision and closer space and interaction.

The back of the design also employs pyramid shape panels that spreads out pointing outwards with longer and larger panels to convey the message of personal space required. This is made unadjustable because no matter if the acquaitances are close friends or not , it is deemed rude to be standing hovering behind someone peeping onto whatever the user is doing .

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2.3 PRECEDENT RESEARCH // VEASYBLE by GAIA

VEASYBLE -GAIA(Gloria,Arianna,Ilaria, Adele). 2010.

(Top & Bottom Left, and Right)

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2.3 PRECEDENT RESEARCH // VEASYBLE by GAIA

TRANSFORMABILITY // FOLDABILITY // SIMPLICITY // INTIMACY // ALIENATION // Veasyble’s design is a piece of simplicity with “beautiful intimacy” in mind. It was a design that really shows the piece as something intimate like the skin yet at the same time, it is something that alienates others who doesn’t understand it.

The usage of foldings allows for a transforming design.Drawing on the left shows the possible folding technique used to make the ruff piece. On top of being able to change shape , it allows increase in volume of design that could be useful in conveying voumetric spatial requirements of personal space. The rigidity of the design may indicate a stronger type of paper used.

// We tried to explore various folding techniques similar to Veasyble’s that could also convey the transformability and collapsability in the design piece and ended up with Yoshimura’s folding(top right) from Peter Jackson’s book on Folding Technique and found that it has strong rigidity when expanded while still being able to be folded into flat piece. This shows the change in volume & shape made possible through foldings. Square belows foldings were also explored for its strong rigidty and for deployment as connection.

Folding Techniques -Peter Jackson. 2011.

(Top & Bottom)

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2.4 DESIGN PROPOSAL v.2

FRONT ELEVATION

BACK ELEVATION

ISOMETRIC VIEW

SIDE ELEVATION

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PLAN

2.4 DESIGN PROPOSAL v.2 TRANSFORMABILITY // FOLDABILITY // SIMPLICITY // INTIMACY // ALIENATION

BACK & FRONT VIEW // FOLD OPEN

PLAN VIEW // FOLDED PORTABILITY

// So while holding true to the v.1’s general design idea of personal space, we implemented a more versatile and more transformable design based on the precedent and came up with a less organic shape. We used the Square belows foldings on the shoulder for its strength to hold up the whole model allowing for the two front element to be able to transform freely as v.1 design may struggle to hold up on shoulders.

This folding is also chosen for its simplicity which doesn’t overwhelm the front and back Main Yoshimura folding.

The back piece remains unfold-able whilst the front two piece are able to fold open in such a way that evokes the same feeling of intimacy and alienation. Yoshimura’s folding is a great way to show this with its potential to fold open to a nice shape that envelopes our face like skin whilst those who don’t get the message from the model piece will be alienated, stopping them from disturbing the user’s sleep.

Portability also part of the design when the model is folded down into almost 2D volume that is easy to carry around like totes bag.

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2.5 PROTOTYPE v.1 + TESTING EFFECTS // The fig. on the left shows the shoulder fold connected to one of the front yoshimura folding using steel wire for moveability around the connection. This make the point a pivot point the rest of the foldings open from. The folding is in close fold state.

PROTOTYPING // MATERIAL RIGIDITY STRENGTH // For this prototype , we tested different types and weightage papers(black/white) 150gsm printing paper,200gsm tracing paper and 250gsm pasteboard sheet) to see how the paper holds up and when put to pressure.

PRINT PAPER // 150GSM

TRACING PAPER // 200GSM

// good balance of rigidity and

// Holds up well but hard

easy in shaping the foldings .

to shape the foldings and forms holes on the edges when folded.

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2.5 PROTOTYPE v.1 + TESTING EFFECTS // we started to think in terms of how we could adjust lightings and atmopsheric effects within the design as well as volumetric expansion effects . For lightings+atmosphere, we explored the paper material visiblity & holes cut out while for volumetric expansion , we tried modifying yoshimura foldings.

LIGHTINGS+ATMOSPHERE // PAPER MATERIAL VISIBILITY

TRACING PAPER A LITTLE LIGHT // AWARE OF DAY/NIGHT OUTSIDE // USER VISUALLY HIDDEN // ONLY BLURRY BODY CONTOUR // DIM LIGHT COSY ATMOSPHERE

NO LIGHT // UNAWARE OF OUTSIDE // USER COMPLETELY HIDDEN // ISOLATED DARK ATMOSPHERE BLACK PAPER

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2.5 PROTOTYPE v.1 + TESTING EFFECTS

LIGHTINGS+ATMOSPHERE // HOLES CUT-OUT // The cut out shapes allows for a play of light and shadow creating a ‘jungle-y’ atmosphere like how leaves on trees creates shadows and tiny light holes coming through.

It also allow users to gain clear vision when they want to , and move away from the holes when they needed space.

VOLUMETIC EXPANSION // YOSHIMURA FOLDINGS // when testing out the yoshimura folding , we found out that the folding expands wider at the top as it flares out when the bottom of the folding is help down as the top folding is pulled open. This might work well with the back model piece as the top part would be the eye level of other people as they hover around behind us invading our privacy.

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2.6 REFLECTION

// In this module , it was about solidifying the ideas from previous module and then putting into actual digital designs on Rhino. When we started working on v.1 Rhino model , we went with a really organic design that was based on a couple of curves connected by developable surface however the connection surface may no longer appear smooth as mentioned in ‘Surfaces that can be built from paper’ (Pottmann et al, 2007) . The precedent gave inspiration in terms of the materiality and its functionality to our design .

In ‘Lost in Parameter Space?’ (Scheurer & Stehling, 2011) , they talked about abstraction in terms of how an object’s complexity is determined by the length of shortest possible description which relates to how we picked out the keywords that could describe the precedent . This made me realise that our design decision only need to show what was the key factor behind our deisgn(ie. personal space) as in the v.2 proposal. This extends to the abstraction of material as we explored the properties of materials in prototypes which could guide us in designing a valid geometry in CAD program(Scheurer & Stehling,2011).’Reduction’ stresses on the importance of optimisation of description or process that is reflected in our testing effects as we tried to come up with the optimal way of showing others that personal space is needed ,being our key factor.

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3.0 FABRICATION Amos x Siyu

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3.1 FABRICATION INTRO

// In module 2 , we redesigned our model after researching on Veasyable’s piece to a design with greater transformability and less organic shape based on folding techniques like Yoshimura and Square Belows.We also explored the possiblities of the foldings for volumetric expansion. We tried to evoke the same feeling of intimacy and alienation at the same time with the front unfolding piece. Portability was also emphasised .

Then we prototyped the model and came up with 150gsm printing paper as the best amongst the paper we tested for its property . We also explored the lightings and atmosphere and although tracing paper gives nice atmosphere, it tore on the edge and because it is for sleeping purpose, the lights maybe unnecesary.

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3.2 DESIGN DEVELOPEMENT+ PROTOTYPE v.2 Some of the main feedback & questions raised from M2 design review that were taken into consideration were:// The model design doesnt appear to be one piece design, no seamless transition between the two folding . // The sharp edges of the folding and the material used may be not as comfortable. // The shape of the folding ratio used may be too close to the body skin . // Consideration of how to attach the model to the body. // How to unfold it into a volumetric design model.

PROTOTYPE v.2 // SEAMLESS ONE PIECE DESIGN // We attempted a different orientation & positioning of the foldings being attached to each other with the yoshimura folding hooked onto each other. The square belows foldings is removed for a more ‘one piece’ and seamless design. // One piece of the folding will cling onto left/right side of neck while the other hangs off of it. This however still makes it uncomfortable for user and it just barely holds up. foldings edges too close to skin.

// This modification still incoporates the volumetric expansion of the folding for the intimate skin and alienation effect.

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3.3 DESIGN DEVELOPEMENT + PROTOTYPE v.3

PLAN VIEW

FRONT ELEVATION

PERSPECTIVE VIEW SIDE ELEVATION

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3.3 DESIGN DEVELOPEMENT + PROTOTYPE v.3 PROTOTYPE v.3 // SIMPLICITY FORM + COMFORT // After discussing with tutor on prototype v.2 , we decided that the extra piece hanging off of the main model doesn’t really represent a unified piece. So we take on the idea of simplicity in Veasyable and came up with a single piece that sits on the shoulder’s back like a hoodie that could fold open and close back in. This piece doesn’t have the edges touching the skin reducing the discomfort but it is still in the way if there’s alot of head movement within the space. However , due to small opening design, the design could not be fully opened as it hits the head half way through .

PROTOTYPE v.3 // MATERIAL COMPLEXITY WITHIN SIMPLICITY // Following the adjustment , we wanted the piece to exhibit complexity in the abstraction of materiality contained within its simplicity instead. The durability(material complexity) of the 150gsm print paper as a piece to wear(simplicity) may be questioned so we wanted a rugged looking paper to show this complexity. To do this , we scrunched up the paper to observe 150GSM PAPER // BLACK

the effects.

180GSM PAPER // WHITE

// the paper material struggles to

// Holds up better than

hold up its shape after scrunching. It

black but holes and tears

was harder to fold back into shape.

occured. White showed

It looked like garbage bag instead

the rugged look better.

of what we had in mind.

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3.4 FINAL PROTOTYPE DEVELOPMENT + OPTIMISATION

PROTOTYPE DEVELOPMENT // ATTACHING TO BODY // VELCRO

// After v.2 prototype failing to use

// We thought of making the

// Then we tested the strength of the velcro by applying pulling force at

the design form itself to attach the

piece detachable from t-shirt so

the top as we would be when pulling open the hoodie . The velcro holds

piece to body ,we approached

we used Velcro stitched to both

on well and is easily removable when pulling it open from velcro at the

stitching to attach model to a

model and t-shirt.

bottom. However it leaves a velcro patch on the shirt itself when removed

t-shirt.

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and appears unsightly when attached on as the velcro is clearly seen.

3.4 FINAL PROTOTYPE DEVELOPMENT + OPTIMISATION

OPTIMISATION // ATTACHING TO BODY // DIRECTLY ON SHIRT

// Even though the velcro was convenient and portable , it made the model’s simplicity design unsightly , and so we resolved to stitching the model directly to the sweater . It gave a clean aesthetic appeal to the whole design . We also chose white sweater to stitch the model to as it blends in well with white paper material used.

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3.4 FINAL PROTOTYPE DEVELOPMENT + OPTIMISATION

PROTOTYPE DEVELOPMENT // FOLD&UNFOLD MECHANISM // DRAWSTRING ROPES + HOLES

DRAWSTRING+HOLE // Addressing the problem of folding&unfolding mentioned, we used drawstring ropes through holes made at every repetition of the folding controlling the foldings at each intervals as well as unfolding the whole model fully.

// we used a black spring stop toggle so that we could push the model foldings into an almost flat folded piece and lock it in place,folded.

// we then tied a knot big enough at the bottom ends so that the string doesn’t comes off the model and provide the resistant force at the bottom when pulling the foldings open .

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3.4 FINAL PROTOTYPE DEVELOPMENT + OPTIMISATION

OPTIMISATION // FOLD&UNFOLD MECHANISM // CLEAN & SMOOTH

CLEAN // FRIZZY ENDS CUT // To make the simplicity design stand out , we had to make it a clean design and so we removed any frizzy ends of the ropes that looked aesthetically unpleasing even though the bits will be covered as it is the side being stitched on .

SMOOTH // HOLE REINFORCER // The rope used is a little rough and the constant pulling of it results in friction which may deteriorate the hole.widening it as well as making it harder to pull the rope .

To fix it, we used aluminium hole reinforcer making the pull a smoother process.

The reinforcer used has similar colour to the rope to keep the design aesthetics true to simplicity and doesnt overwhelm the main model.

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3.4 FINAL PROTOTYPE DEVELOPMENT + OPTIMISATION

OPTIMISATION // DESIGN COMFORT // FOLDING RATIO

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RATIO // 3.6.3

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// To solve this problem ,we experimented the foldings and came up with 3.6.3 ratio foldings 6

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on bigger paper dimension. This ratio has more ‘open’ corners and less enclosing space for more head space within .The comfort level

2 RATIO // 2.4.4.2 // The previous(above) folding uses the ratio of 2.4.4.2 which resulted in a tighter corner and smaller head space within. Head was too close to folding edges for comfort .

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increases.

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// This ratio still uses the same yoshimura technique .

3.4 FINAL PROTOTYPE DEVELOPMENT + OPTIMISATION

OPTIMISATION // MATERIAL USAGE // SYNTHETIC PAPER PRECEDENT // PAPER WALLET // We referred to mi-wallet’s material in our search of durable paper that could portray the material complexity (durability) as mentioned in v.3 prototype , visually. Having owned a paper wallet for years , it definitely shows durability as it does not tear unless put to scissors edge and it doesn’t change shape easily unless folded with a solid line made.

Paper wallet - Mi-wallet. date unknown

MATERIAL // YUPO SYNTHETIC PAPER // We then found the yupo synthetic paper in the local art supply store which shows similar property to the paper used for the paper wallet . It is a 100% recyclable , waterproof, tear-free synthetic paper. // We put its durability to the test by scrunching the paper up,tearing it with bare hands, and putting it to knife’s edge. Overall it doesn’t tear against scrunching or bare hands tearing except for sharp knifes which is expected. // it was easy to fold the paper back into the fold shape and hold up its shape even after it has been laid flat due to the folding line not easily removed by the creases/scrunching.

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3.4 FINAL PROTOTYPE DEVELOPMENT + OPTIMISATION

OPTIMISATION // EFFECTS // RUGGED SCRUNCHED PAPER

// Referring back to v.3 prototype’s key feature design of showing material complexity (durability), the yupo paper was perfect for this purpose. It could be scrunched to give it a rugged , durable look without ruining the paper’s strength.

BETTER THAN HOODIE? // YES // PERSONAL SPACE

DEFINED // ET NATURAL ATMOSPHERE WITHIN // RUGGED DURABILITY

// While it is scrunched , it also reduces the sharpness of the edges of the folding on the inside for greater comfort whilst still having the edge to warn against outsiders . At the same time , the rugged appearance looks more organic and less machine-like creation for a more natural environment to sleep in. // This method of testing physical model for aesthetics effects relates to Lisa Iwamoto’s Digital Fabrications: architectural and material techniques(c2009) where she mentioned that designers shift between physical model and digital medium to discover

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new possibilities and limitations , and this scrunched look would not be discovered if we solely work on digital medium.

3.4 FINAL PROTOTYPE DEVELOPMENT + OPTIMISATION

OPTIMISATION // DIGITAL FABRICATION // CARD CUTTER

// For our design , we needed to fold the yupo paper into accurate foldings for a clean aesthetic look. To do so , we used 2D fabrication that only involves two-axis motion done with a moving cutting head(Kolarevic,2003) as our design was based on a flat surface paper . This was done with the card cutter machine to help us score the folding lines. This card cutter is controlled by computer which cuts or score with a cutting knife on a 2D plane based on the data fed to it. To do this , we created two surface files in rhino based on the folding lines , with one folding line that follows the ridge fold (left) and the other follows the valley fold (right) . We first put the yupo paper to score based on the first file(left) and then flipped the paper onto the other side and score it based it on the second file (right). The machine controls its score and cuts based on the colour of lines indicated in the digital file , in this case , red was the colour to score the line . The maximum thickness the card cutter was able to process was 1mm and the yupo paper was thinner than that . // Because we modelled our design foldings based on the whole 600x900mm paper size and measured the measurements of each foldings into rhino , the arrangement of the unrolled elements into a nested cut file(combination of the two file(left&right) fits exactly onto the 600x900mm dimension.

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3.5 FINAL DIGITAL MODEL PERSPECTIVE VIEW // OPENED

FRONT ELEVATION // OPENED

SIDE ELEVATION // OPENED

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BACK ELEVATION // OPENED

PLAN // OPENED

3.5 FINAL DIGITAL MODEL PERSPECTIVE VIEW // FOLDED

SIDE ELEVATION // ON TABLE

PLAN // ON TABLE

FRONT ELEVATION // ON TABLE

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3.6 FABRICATION SEQUENCE

STEP // 1

STEP // 2

STEP // 3

1 The template file made in the Rhino program is cre-

2 The scored lines makes it easier &

3 Then the paper is scrunched with

ated for use with the cut cutter machine to make score

accurate to fold with hand.

hands for the rugged look .

lines .

STEP // 7

STEP // 8

STEP // 9

7 The drawstring ropes are threaded through the holes

8 The drawstring stop toggles are put

9 The drawstring rope is tied at the

made from one end to the other .

in at the top end .

other end and frizzy bits chopped off.

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3.6 FABRICATION SEQUENCE

STEP // 4

STEP // 5

4 The scrunched paper is then

5 Holes made at the edge of folding with

refolded according to the previous

hole puncher at every intervals.

STEP // 6 6 Fixing the holes with hole reinforcer.

scored lines .

STEP // 10 10 The model is then sewed onto the

STEP // FIN. 11 The model is complete.

shoulder part of the sweater.

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3.7 ASSEMBLY DRAWING

1

2 2 3

3

ASSEMBLY COMPONENTS 1 MAIN FRAME FOLDING 2 DRAWSTRING ROPE 3 STOP TOGGLE

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3.7 ASSEMBLY DRAWING

ASSEMBLY STEPS

A // 1,2

C // 2,3

B // 1,2

D // 2

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3.8 COMPLETED 2ND SKIN // PHOTOSHOOT

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3.8 COMPLETED 2ND SKIN // IN-USE

// OPEN LAWN

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3.8 COMPLETED 2ND SKIN // IN-USE

// STUDIO ROOM

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3.8 COMPLETED 2ND SKIN // IN-DETAIL

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3D CAD

3.9 REFLECTION

2D CAM

3D PHYSICAL PROTOTYPE

3D FINAL PHYSICAL MODEL

// In M3 Module , the design development constantly involved back and forth usage of 3D CAD program like Rhino and the making of 3D physical prototype. These two medium of design compliments each other in the design development phase. The 3D CAD allows for new dimension of thinking and modelling designs as Iwamoto (c2009) mentioned in comparison to 2D CAD designs.

While , the 3D physical model made us realise the ‘power of making’ as mentioned in the lecture as we constantly learn new possibilities and limitations of the designs we did in the CAD program.

Only through 3D physical prototype that we realised the limitations of the material in some of our designs and the very realisation made us looked harder for the ‘perfect’ material to show the idea in our design. The new possibilities stumbled upon in prototyping these models was also a delightful experience. All of these back-and-forth development was done with precision and in efficient manner through CAM (Computer Aided Manufacturing) process. Rhino program allowed us to unroll a 3D digital model into 2D surface so that we could manufacture the prototype parts using the 2D Fabrication machine namely the cut cutter that utilises two-axis motion moving cutting head (Kolarevic,2003). Before M3’s fabrication , the foldings and lines for folds were hand drawn which made the actual folding unaccurate leading to abnormal shape than what we had designed in CAD. CAM’s precision in scoring lines for folds made our design more alike to digital ones and allowed for a clean and precise look which we wanted.

The readings helped clear up on what the actual making process we were going through and how to make full use of the CAD, CAM and physical models to come out with the best designs.

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4.0 REFLECTION

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4.0 REFLECTION // Throughout the whole course, the usage of digital design in our design process was a productive one as I felt that it has really allowed us to express the idea we had in mind in a clear visual manner. The course module made me rethink the way I approach my design process as I learn that physical model prototyping process opens up more design possibilities rather than just building it to see how it looked in physical form. This holds true to the saying that designers never stop designing till the very end. The fabrication module of the course opened up a new medium of creation for me as the module were laid out in a clear way on how to go from digital models to physical models through unrolling of 3d models to 2d in an efficient manner to choosing the suitable machine for fabrication. These digital design and fabrication programs was a challenging one as it was a whole new process to me which we had to learn whilst already designing model on it. It definitely pushed me to work harder in learning it but ended up neglecting the design prototype explorations in M2 .

M2 & M3 module co-operation with Si Yu made me realised the importance of good communication within a team. She has contributed a lot to making this project this possible however it wasn’t without the hurdles as we struggled to find a communication medium as sometimes she might struggle to find the right way to put forward what she had in mind as English was not her native language which sometimes left us both frustrated. Thankfully, we overcome the problem and came out with a design that we both had inputs in.

While the project has objective brief and a system to based our design on, the course stresses on the exploration of digital design and fabrication to come up with solutions and limitations within the digital world itself. When we were given the object for exploration of system in Module 1 , I realised I have dwelled too deep into the system of panel & folding itself(mainly folding) which made me stuck onto the idea of using paper as I thought that paper was the best way of showing folding which we did achieved.

This made our project lacked the deeper exploration of digital fabrication process as what the module would wanted us to explore as some other’s model would have as most of their model required cuttings and assemblage which brought up more complication to prototype on .

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Looking back in hindsight, I should have focused less on making a model with paper that is following adherently to folding and start exploring other designs not involving paper(requiring cutting) that may not fold as well (or not fold at all) but showed a more detailed fabrication process.

With all that being said , our project was not all downs as we had our ups as well when we explored the materiality within the prototype(scrunching effect) and came out with a key feature instead in M3. This relates to what Scott Marble (2008) quoted in ‘Imagining Risk’ that craft, identified with “workmanship of risk” – where the result of working with a material is dependent on the judgement, dexterity and care , is essential for innovation . The use of digital technology in designing and fabrication pursues for something more certain and predictable which is useful for physical and environmental behaviour but the root of innovation from risk should not be erased. Human and technology relation should continue on through crafts like it did for our design through prototyping which was designed based on the risk of human’s mind in a digital program and fabricated .

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5.0 APPENDIX

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5.1 CREDITS CREDITS

Page Cover

Drawings

Computation

Model Fabrication Model Assembly

Photography rr

Writing

Graphic Design r

Drawings

Computation

Model Fabrication Model Assembly r r

Photography r

Writing rr

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3

r

r

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5.2 BIBLIOGRAPHY Heath, A, Heath, D, & Jensen, A 2000, 300 years of industrial design : function, form, technique, 1700-2000, Watson-Guptil, New York.

Sommer, R 1969, Personal space : the behavioral basis of design, Prentice-Hall, Englewood Cliffs, N.J. Pottmann, H, Asperl, A, Hofer, M, & Kilian, A 2007, Surfaces that can be built from paper in Architectural Geometry,Bentley Institute Press, pp. 534-561.

Scheurer, F, and Stehling, H, _2011, Lost in Parameter Space?, Wiley, pp. 70-79.

Kolarevic, B 2003, Architecture in the Digital Age – Design and Manufacturing , Spon Press , London.

Iwamoto, L 2009, Digital fabrications: architectural and material techniques, Princeton Architectural Press, New York .

Marble, S 2008, Imagining Risk, in P Bernstein & P Deamer (eds) , Building the Future: Recasting Labor in Architecture, Princeton Architectural Press, pp. 38-42.

Jackson, P 2011, Folding techniques for designers : from sheet to form , Laurence King Publishing , London.

Pizzilli, G, Petrakis, A, Pacini, I, Bacci, A n.d., VEASYBLE, viewed 1st April 2016, < http://www.veasyble.com/homeeng.html> Mi-Wallet , n.d., Paper Wallet , viewed 25th April 2016, < http://www.mi-wallet.com/p/paper-wallet.html>

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