DIGITAL DESIGN + FABRICATION SM1, 2017 M3 JOURNAL - DISTURBING CONNECTIONS
Natalie Keynton, Thomas Huntingford and Brett McColl (615887, 835306, 832138) Josh, Tutorial 1
DESIGN PROCESS
EXPLORING THE MATERIAL SYSTEM
Above: Catenary pottery printer This project was especially influential in our design as it provided an excellent example of how to achieve irregularity through rule making regularity. Right: Connecting bones with skin prototype Below: original kerfing pattern prototype
From our M2 presentation we still had some more design development to do as our concept was somewhat unresolved. The issues to resolve were centered around fabrication but we also needed to consider form, the panels and the desired effects more closely. One of the most valuable explorations to come out of M2 for us, was experimenting with the material system. We explored whether our skin could be used to hold together the bones and
also whether a bone material could be altered to become a skin. We chose to carry this forward within our design. By selecting MDF, a rigid bone structure, and using kerfing patterns we were able to create a surface which bent in two directions and was quite flexible. This new skin structure is able to flex in response to a changing personal space and tied together our material system and our concept of personal space.
Our consideration of personal space was informed with the view that the concept of personal space represents both positive and negative space. In this case, the body would represent negative space, while the bubble would become positive space. The line between the body and the personal space bubble is clearly defined. However, when this positive space comes into contact with another positive personal space, how would these two react? We considered the flux of such spaces through diagrams and this ultimately helped to inform our form. In order to help focus our design we also chose to consider personal space through the particular scenario of two close friends meeting. In this situation the friends may shake hands or hug and as they meet and come into contact with one another their personal space bubble would change and fluctuate to accommodate the other. We found this particularly interesting and explored this further through form finding.
FORM RESOLUTION
DESIGN DEVELOPMENT
POSITIVE AND NEGATIVE PERSONAL SPACE
Our resolved form plays on the idea of a hug. We imagined how two friends would greet each other and simulated the hug action by branching one arm up and over the shoulder, extending across to meet the other person. For our model, two people would wear identical but mirrored systems so that the hug would link over the shoulders and bind the wearers in place reinforcing our personal space concepts of connection and flux.
Resolved form
DEVELOPMENT OF NODES
CONNECTION TO BODY Brett explored how the cantilevered structure could be attached to the body. He experimented with straps to hold a base rod in place and also with magnets to consider the connection between the two systems. We also considered a fabric sleeve and leather binding straps but felt that none of these solutions were appropriate or offered a quality solution. We would also be introducing another material group which may have disallowed a cohesive and aesthetic model.
Sketch model
More developed model
Consideration of criteria etc.
Weave 1
Weave with tabs
Other connection
Materiality
Materiality
Materiality
Fabrication
Fabrication
Fabrication
Aesthetic
Aesthetic
Aesthetic
Effects
Effects
Effects
Efficiency
Efficiency
Efficiency
Overall
Overall
Overall
WEEK 6 READING ANALYSIS Architecture in the Digital Age: Branko
PAUSE & REFLECT
Briefly outline the various digital fabrication processes. Explain how you use digital fabrication in your design. With the recent rise in popularity of digital fabrication, multiple different methods of production have been created, improved upon, or refined. These fabrication techniques are grouped under three main categories: additive, subtractive, and formative fabrication. Additive fabrication is the process of adding components or materials in layers to create a design from a digital model. Examples of this are 3D printers, which have become cheaper over time. There are a range of these printers. Some work with melted plastic in layers to create rough three-dimensional forms, whilst others use layers of powder and glue to produce a complicated and finalised sculpture. Subtractive fabrication is the opposite of additive fabrication, as rather than adding onto previous work to create a model, machines are removing parts to create a physical model from a computer. An example of such a method of fabrication includes a machines such as a Computer Numerical Controlled Router, more commonly known as a CNC Router. This router will remove sections of a material, typically wood, and can produce a wide range of forms based on the type of router. Simple CNC routers work only in two directions, only cutting the surface of a material. By adding a third direction to the router, the machine can raise and lower the height of the drill bit. A five-axis CNC router can move in all directions, and can easily produce complex models based on a computerised design. Other subtractive fabrication techniques includes Laser Cutting, which uses a high powered laser to burn through materials, and Water Cutting, which uses a highly pressurised stream of water mixed with additives to cut through any material. These two techniques work in similar ways, and can only work on a surface of an object. The last method, formative fabrication, is unlike the other two processes. Rather than removing or adding to an existing object, this process merely modifies and bends the existing material. An example of this is bending steel rods or plates with robotic arms into regular forms and designs. Alternatively, heat, water, or steam can be used to bend materials that would otherwise wouldn’t into new forms. An example of this is the process of hot rolling steel bars into steel I-beams in factories. Of the fabrication methods, this method is possibly the most commonly used.
For this design, the main digital fabrication method used was subtractive fabrication. This can be seen in the MDF panels on the design, which were created by uploading a custom designed pattern to the laser cutter for printing. Subtractive fabrication was also used in the creation of the nodes which connect the rods together, as a simple router was used to drill into the wood. Although only subtractive fabrication was used, it would be possible to use additive and formative fabrication in this design. The wooden nodes could easily be replaced by customised, 3D printed parts, and the steel rods could have been bent using a robotic system, rather than by hand. How does the fabrication process and strategy affect your second skin project? Digital fabrication affects the design and development of this second skin project in a vast number of ways. Firstly, it can assist in making prototyping simpler. By designing an idea and printing or cutting it out mechanically, it allows one to see if the design will work realistically. It also allows for the idea to be shown to others to assist with explanation. However, the main benefit of digital fabrication is the result. Digital fabrication can result in creating designs and shapes which would have been all but impossible or impractical to by hand. It also allows for the computer to control the exact size and shape of the elements being created, reducing the risk of an error being performed. These processes also allow existing materials to be used in new and interesting ways, while still retaining their basic functionality and their materiality. Digital fabrication also has the ability to fabricated “mass-produce one-off” designs in a process described by Kolarevic as “masscustomisation”. This process allows for a series of similar, yet distinctively unique designs to be fabricated quickly and simply. An example of this is the wooden panels seen in this second skin project, which are all similar in design, yet unique with custom triangle based patterns on each panel. These panels also showcase the previous paragraph’s statements, as by allowing a computer to control the placements of the laser, the panel is crafted to a higher quality than a human can achieve with a blade. The panelling design also allows for the MDF board, which is a rigid material, to bend and twist, whilst still maintaining the basic strength and properties of the material. Time is also affected by the use of digital fabrication. As these processes are practically fully automated, this allows for other tasks
to be accomplished at the same time, allowing for an improved and productive workflow. This automation allows for complex designs to be completed quickly, and machines can be programmed to run overnight, allowing for lengthy waits in production to be mitigated. However, the one downside to digital fabrication is the cost. Although the prices for these processes have decreased over time, they are still expensive, and so fabricating digitally needs to be performed selectively, so that a budget is not spent on unnecessary processes.
Photo of fabrication process
WEEK 7 READING ANALYSIS Digital Fabrication: Lisa iwamoto Describe one aspect of the recent shift in the use of digital technology from design to fabrication. Digital technology has created a dramatic shift in the way society transfers ideas from a pure design into a fabricated model. One of the largest aspects of this shift is the size and scale that designers can work with. Previously, if designers wished to fabricate a large design, or if architects wished to design a house, they would often have to outsource the actual fabrication. With the advent of a widespread use of computerised processes and fabrication, it is easier for these design companies and architects to fabricate their own designs. Previously, this would be small scale production only, maybe a prototype model or a few finalised products. However, this scale is now increasing. This can be seen in many of the works depicted in Lisa Iwamoto’s article, such as “Mafoonbey”, which was designed on computer and then had “720…sheets…cut…using a computer-controlled cutter”. Laser cutters are also used by Facit Homes, a company that uses these cutters to “fabricate a bespoke home on-site”. By simply supplying the material and the machines to laser cut panels into the correct size and shape to simply erect a single story house, designers are using these digital fabrication technologies to increase the scale they can design and fabricate. Referencing from the lectures and readings, what is the implication of digital fabrication on your design? Digital fabrication allows for a wide variety of techniques and materials to be incorporated into the second skin project. However, digital fabrication also implies that the entire design may not even need to be prototyped or even assembled by hand. All the various digital technologies that have been introduced throughout the lectures and the readings, such as the CNC Router, or the 3D printer, are almost fully automated, and require no assistance in the fabrication process unless something goes wrong. Future improvements of technology can also remove the assembly process by programming robots to assemble the final model. This idea can be seen in a video shown during a lecture, wherein a number of drones were programmed to follow a predetermined path to create a floating sculpture out of string. This idea could mean that it would be entirely possible and plausible to be able to create intricate, highly complex designs on a computer, and then receive the finished product without having to assemble or participate in
any fabrication processes. Although this type of technology is not readily available, it is but one thought on how the progression of digital technology could affect the designs of a digital model.
REFLECTION ON READINGS AND DIGITAL FABRICATION PROCESSES These readings encouraged us to reflect upon how we would actually go about fabricating our object. We came to the realisation that our design may not be the most easy to fabricate due to the randomness of the curves and would therefore also be difficult to model in the computer. We would have to consider how we can use digital techniques to enhance our design and also assist us in building it. There is the possibility for us to develop some standardised nodes which can be 3D printed and also for us to arrange the curves through a digital design so that we can assess form before fabrication. If we had the time and the skills we could also use the robots to bend the aluminum rods so that they would all b e uniform.
WHERE TO NEXT?
REFLECTION
So where to next? To help us overcome our block we decided to look back to our main precedent example - that of the napkin table and to consider what we liked the most about our design and what we were trying to achieve. We decided that what we liked the most was the complex mass of undulating curves. We also rethought the desired effects: we aim to create an experience for the viewer, much like any piece of art. To achieve this we will draw focus away from the experience of the user and project it back out to the viewer. In doing so, we want to create an emotional response of discomfort. This would be created through observing two people in the surreal experience of being physically and intimately joined. With our objects now set clearly we thought it would be useful to reconsider of stance on personal space. We thought again about the concept of flux and change but through the different lens of creating a discomforting visual. We feel like our project has come to a stand still. We are encountering several problems including how to connect a cantilevered structure to the body. We also feel that our joint remains unresolved as we do not like the aesthetics of our chosen method. Our Prototype 1 works okay at a small scale however, we foresee major issues down the track. We are unsure that the structure will be able to self-support. Overall we are just feeling underwhelmed by our current design path. Perhaps this is due to the lack of digital design processes so far in our design journey. We need to consider the role of digital fabrication within our design. The aluminum rods lend themselves to being bent by the robots, however as our skill set is not great enough for this yet, we are better off bending them by hand. But then we must also produced a standardised curve. There is the possibility for some kind of 3D printed joint, and the panels must also be laser cut. We have found though that the design process is much more fluid for this particular project through quick ideation sketches and prototyping. Different projects lend themselves to different design generation methods. We felt that our particular project was easier to explore during more traditional design methods due to the undulating, random curves. However, as we look around to see the projects our classmates are working on we can understand that some projects would indeed offer greater opportunities through digital explorations. It is always important to test your materials, but as we have been working with the same materials from the beginning and testing their limits we felt that we needed less material testing then some of the other groups. It is important to remember that while digital design and fabrication processes may be useful, sometimes traditional methods can also generated equally as good results.
PROTOTYPE OPTIMISATION
Photo Tom
Photo Tom
Photo tom and nat
We began exploring how when two personal spaces come together and join there still exists another undefined line of proximity which, when broken, creates a sense of discomfort for the models. We also considered how a viewer would feel when observing two people whose personal space bubbles have combined and joined. This only creates perhaps a mild discomfort, but when emphasized through creating a physical connection it augments the sense of discomfort for the observer.
PROTOTYPE OPTIMIS T I O N
REDEFINING PERSONAL SPACE
JOINT DEVELOPMENT
FORM DEVELOPMENT AND REFINEMENT
Photo
Initial concept
Photo of all the joints together
Materiality We felt that the timber opposed and complimented the metal rods nicely. It felt like a warmer touch to the metal which felt cool and binding. We feel that this emphasizes the human part of our concept - the human connection.
Development of types
Photo
Addition of slot
Photo
Clip addition
In order to achieve our new effect we decided to shift slightly the form of our design. We opted for a single structure which would connect and bind the two wearer’s in place. In doing this, the effect created for the viewer is reinforced: witnessing two people intimately connected and locked in place so that it is difficult to move away. They are indeed forced to stay together once the structure has been placed on and around the body. This creates a sense of unease and discomfort for the viewer, reinforcing our concept of personal space.
CURVE REFINEMENT
RHINO MODEL
We were able to transfer the angled curves that we found using an analysis of the hugs and of our wire precedent into Rhino. From here, we created the radius based on their classification as a hug curve or wire curve. We then piped these curves and combined them in an additive process to generate our 3 final curves we would use to fabricate our model. We assembled these together in a module of 3 that could be easily replicated to assist in the construction of our system.
ASSEMBLY
PANEL DEVELOPMENT AND REFINEMENT Drawing of looking at areas of most open against closed - overlaying of two drawings. + Defining attractor points
One area of feedback from our M2 was that the triangulated panels looked violent as if they were trying to protect the user. This wasn’t our intention at all and so we decided to reconsider the form of our panels. We looked at several options before deciding on a long strip. This long strip can be attached to any of the curves to emphasize their flexibility. We have chosen to add the panels to the hug curves, with an opening gradient dependent on their location, as the hug curves conceptually speak to the notion of a human connection. On the left we also quickly tested how an overlapping mesh of triangulated patterns with varying density would work when overlap. What we found was that at the areas of the greatest overlap: in-between the chests, even the smallest triangles create the effect of increased density. This influenced how we specified the density or openness of our triangulated pattern of our panels. We simulated 2 attractor points on the chest of each wearer and also in a central point between them. In this way, the place of greatest overlap would be the most transparent but still create the impression of density.
Photo of final kerfed panels
KERFING
FINAL PROPOSAL Our final proposal for the second skin project involves a series of modulated wire curves which symbolize human connection and fluctuating personal space which is reinforced using curved MDF strips. These strips add integrity to our design as they reflect the angle of the curves and well as selectively reinforcing the hug curves. They add complexity to our design through a change in material, yet also harmonize as they mimic in colour and texture the nodes.
Fabrication photo
Fabrication photo of second jig
Photo of bending metal on curves
FABRICATION PROCESS
CREATING A JIG FOR CURVES
Image of all the curves we need from rhino
Curve 1 68°
Curve 2 180°
Curve 3 153°
Curve 4 109°
Curve 5 87°
Curve 6 43°
Curve 7 91°
This initial joint type we tried was unfortunately unsuccessful as shown in the photos. It did not keep the curve of the metal and bent it straight away. It seemed much easier for us to simply laser cut a jig and manually bend the curves around their set angles.
This second jig worked much better. We were able to efficiently program the curves and cut the panels. The jig also worked very well. Overall it was a much better solution than the one first tested as it used fewer materials, was easier and cheaper to cut than the CNC milling would have been and saved us time. It was also easy to put together.
Photo of curved metal rods
FABRICATION PROCESS
FABRICATION PROCESS
Photo from behind
DISTURBING CONNECTION Large final photo of design
Side on shot
REFLECTION
Another nice image of our final product
We were able to translate our final rhino model proposal into our fabricated model with very little compromise. The final model is aesthetically pleasing with the gentle curves of the MDF accentuated by the panels and the contrasting materiality. The model has direction, as it branches the space between the users, linking them together and locking them in an inescapable shared personal space. The viewer is emotionally drawn into the scene and also repelled by it through a sense of discomfort that comes when witnessing two beings intimately connected and yet forced and unable to escape. Disturbing connections explores integrated and fluctuating personal space.