Design studio journal

JOURNAL

- 02 DESIGN STUDIO 2 ANES ABDOU 101157855

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02

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TRIANGULATION

PULLPOINT

07

CP BOX MORPHING

38.8

BOX MORPHING

08

BLACKHOLE

SCULPTURE

CLOSEST POINT

PROJECTS

TRIANGULATION

IDEATION MATERIALS FABRICATION TOOLS RESULTS

IDEATION

For the physical prototypes traingulation exercise to us models. We were given som a laser cutter.

We bagan manipulating an different forms and angles pavillion type structure with a spiralling ‘attractor curve’

Due to the complexity and going to prove to be quite a immense concentration an

s, we were given a se as the basis for our me cardboard and access to

nd experimenting with to create and decided on a h the ‘windows’ placed along ’.

size of our project, it was a task as it would require nd time dedication.

MATERIALS We used 1200x700mm corrugated cardboard which was 2mm thick.

The cardboard itself possesses two differnet shades of colour. When placing the boards into the laser cutter, we forgot the two different sides of the board had two different colours. However what we later realised was that the two distingushable colours would give the model a positive aesthetic look.

Cardboard possesses numerous positive traits and as a result, it is a suitable material to model your ideas with. The corrugated centre of the board gives the material its strength in tension and heavely reduces its weakness in compression.

Its compatibility with many adhesives provided us with versatility to experiment with a few types of adhesives.

FABRICATION Once we were satisfied with the overall aesthetic of our model, we imported all of our 310 triangular pieces into Adobe Illustrator, which was spread across 8 panels. These ‘.ai’ files were sent to the workshop pc and then used to cut the boards.

The entire cutting process lasted approximately 2-3 hours.

A minor problem that occured was the numbers placed on the traingle pieces to identify their place were missing or placed in the incorrect spot due to our own human error.

However because we were observing the entire cutting process, we were able to quicly idenyify their numbers and reduce the problem almost entirely.

We were instructed to add tabs to the triangles as a means to join each piece to its adjoining partner. These tabs were etched with dotted lines by the laser cutter, so that we could effectively fold the tabs.

During the installation process, we discovered that the flat side of the cardboard that doesn’t have the panel tabs folded onto it and had the numbers, was actually the inside and not the external side, which we had originally planned for.

This was a minor annoyance but didnt dramtically affect the overall look. In fact it gave the model an extra aspect to its facade.

Tools The original plan was to combine the pieces by applying a small amount of glue to the tabs and then applying a bit of pressure until dry. A foldback clip was then used to aid in joining the pieces together.

This proved to be a tedious and time consuming method and wasnt practical, due to it requiring us to repeat this process for over 300 pieces.

We substitued the PVA glue for a hot glue gun which was surprisingly effective. It was able to dry extremely fast and once dry, the hot glue possessed impressive strength capabilities, able to maintain its hold of the panels almost immediatly with no set back, besides a few burnt fingers.

Due to some of the cardboard panels not lying directly flat inside the laser cutter, some of the triangles weren’t cut as deep as we would have liked. This was easily dealt with by using a box cutter/knife to slit the remaining depth required.

The end result of our model was a very intricate and interesting form. The model was very durable as we were able to manipulate it into a few different forms without losing its structual properties.

The downside to the final result was due to the size of the model as it was difficult to stand by itself as the design was smaller at the bottom and wider and open at the top.

We made some space in the workshop and hanged the model with some strips of tape so that we could achieve the desired form.

The use of a skeleton or supporting structure behind the aesthetic material is a consideration as it would aid in allowing the structure to support itself without external help.

38.8

TESSELLATION DIGITAL MODELLING 3D PRINTING FORM EXPLORATION FABRICATION

TESSELLATION In order to produce unique and visually impressive tessellations, we were advised to begin with simple and generic geometry and then begin removing fragments of these shapes to create the desired complexity in our tessellations.

We needed to create rules that the tessellation must follow to reproduce the styles in the programming software. What was produced were styles that we were confident could be explored further and produce successful results.

LASER CUTTING Once we had created a few tessellation styles that we were interested in pursuing further, we sent the files through to a laser cutter machine and reproduced the tessellations on some 2mm thick cardboard. Once we cut then re-joined the cardboard pieces we assessed which styles possessed good bonding characteristics and remained in place when shuffled around the table.

DIGITAL MODELLING ROTATION EXPLORATION

After creating a few variations of forms and styles, we discovered that certain pieces of the design will be subject to more stress loads and as a result, needed to be able to withstand these loads. Using programs like Rhino and Grasshopper, we were able to alter the density, rotation and teeth of pieces that we felt would require more strength to retain the structures integrity.

Once experimenting we also manipulated the form so that it was also aesthetically pleasing.

DIGITAL MODELLING TEETH SIZE EXPLORATION

DIGITAL MODELLING DENSITY EXPLORATION

3D PRINTING

Having created a few styles, we were confident with our 2D forms. Wanting to produce our designs in 3D form, we began 3D printing. We had initially proposed a wall structure and wanted to assess its strength physically. After the wall had been 3D printed and cleaned, what was apparent to us was that it was aesthetically a success. However, a slight problem was that the individual pieces weren’t impressive in their bonding with one another as they were pulled apart when enough pulling force was applied.

FORM EXPLORATION

FORM EXPLORATION

3D MODEL

LOCKING METHODOLOGY

The model was aesthetically a success but was quite difficult to erect as it was very complex and lacked a construction method of application. The locking system also lacked strength which is why we had to re-evaluate our options and repeated the process to acheive a stronger locking system.

CURVES ( IN & OUT )

LOCK SIZE EXPLORATION

ROTATION

TEETH SIZE

STANDARDISATION

MOULD ANALYSIS

As the original model was quite difficult to construct, we needed a solution to bypass the issue. We decided to create a system that allowed us to propose unique forms however, we would now be able to monitor the amount of moulds each form would require during the fabrication stage.

CODING SYSTEM

GRC / FRP

POSSIBLE CONSTRUCTION METHODS

FIBRE GLASS

INJECTION MOULDING

DIAMOND WIRE CUTTING

MOULDING

Once we were able to reduce the amount of moulds (unique pieces) that were present in the form, we began simulating the manufacturing of the pieces. Using casting plaster with our mould we found that the pieces were recurringly breaking at specific weak points throughout the piece. This was due to the plaster’s lack of strength and reinforcement. The use of the aforementioned methods/materials would resolve this weakness entirely.

HOT WIRING

We attempted hot wiring as a fill in for the real process of damond wire cutting. This caused numerous problems however as we werent able to effectively achieve the correct angle (38.8) with the human eye but it displayed the concept.

Machinery would be able to effortlessly slice the material with perfect accuracy.

FINAL FORM

PLAN / SECTION / ELEVATIONS

The conclusion of this assignment was a form that we were satisfied with and possessed an interlocking system that was durable and strong enough to withstand the stresses that the tessallation would be subject to over the course of its life.

However what we would need to consider heading into the future, assuming we were to pursue this project further, is that due to obstacles that we encountered in the first phase of constrcution, we should not shy away from tackling the difficult possibilities. Not possessing enough control over the method and assembly of each individual piece was a constant influence as the process progressed and at times restricted us in certain areas of which we could perhaps have pursued but were concerned with the difficulties it would result in.

DIGITAL SKETCHBOOK

GLASS SCULPTURE PULL POINT BOX MORPHING CLOSEST POINT CP BOX MORPHING BLACKHOLE

GLASS SCULPTURE

PULL POINT

BOX MORPHING

CLOSEST POINT

CP BOX MORPHING

BLACKHOLE