DIGITAL DESIGN + FABRICATION SM1, 2015 [ Marvin II ]---Inspiration by the egg cutter Chen Lin
(691908) Michelle + Tutorial1
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1.0 IDEATION CHEN LIN
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M1
Ideation
Ideation
Measred drawing+Digital model
Measred drawing+Digital model
M1
Measured drawing and digital Rhino model of the egg cutter. The accurate measurment was achieved by tracing the photography of the egg cutter on the screen, and the detail internal surface was measured by the ruler. The rhino model was started by tracing the plan drawing of the egg cutter using wireframe. The drawing was scaled in 1:1 by placing an actual scaled line aside. Then the base shape can be extrude. The hollow space parallel space was Boolean by eight extruded rectangle. Then, the middle negative concave volume was created by Boolean two perpendicular egg- shape solid. The handle was made by command of “fillet edge�; the curve joints with cuts were archived by Boolean the difference of the piped curve line and the handle.
Elevation
Plan view
bottom view
Isometric view
Movement of the hinge
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M1
Ideation Material +System
The egg cutter are in simple construction and consists 3 parts wich are a plastic hollowed holder, a stainless steel handle and 8 stings of wire cutter. The size of the egg cutter is 83.5mm x 113mm, which is easy to carry. The material is plastic and stainless steel, which are both light, easy to be cleaned and durable.
The handle of the egg cuttter
The average distance between the eight steel wire is 6.5mm. Although the wire is not very hard, the thickness of its diameter help it cuts the egg sharply enough.
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The base of the egg cutter
The depth of this depression is 14mm which is generally half of the diameter of general size eggs. It designed efficiently to prevent the egg from slip away.
The angle of the movement
The aviliavle switch angle of the cutter is between 180 degree to 0 degree, which provides the biggest flexiablity and space to put different eggs in different sizes.
The arrangment and the order of the system
The section in the middle of the cutter is made up by the insertion of two pependicular eggs. And we get a series of seven sections which are arranged in a particular order. The width of the section is increasing while the height of the hollow becomes deeper. section D is the center section, and the sides of it are symmetrical. The seven sections lies as the diagram aboved shows.
Ideation Sketch design proposal
1. Parallel timber structure surround the body to prevent physical connection with others.
2. Curvature indicates the difference of intimate and general boundaries of personal space
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3. Disturb the view and sound to produce sense of secure and personal space.
Reflection on module one:
Module one of ideation aims to find inspiration from the object which is an egg cutter. We are more focus on absorbing the main structure system and order inside the object
which is the “negative space” and the concept of “parallel planes”. The process of measuring and model making in rhino provide us opportunities to take a good look at our object with more care. The layout of the egg cutter was inspirited
by the text “how to lay out a croissant” by Miralles and Pinos. In the reading personal space , Robert Sommer has points out that the boundary might vary on different crowdedness and different relationship between the person who stands beside you. Therefore, I started to think of designing a second skin which can indicate the difference of the two boundary for intimate people and general people.
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2.0 DESIGN CHEN LIN, AMBER BARTON
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Design Introduction
M2
Introduction At this stage, the main ideas that bring from the phase 1 is to combine the material system of profile and section and the idea of difference between intimates and general to create a volume around the head area. - The internal negative space represents the area that almost entirely inhabited by the individual wearer. - The change of the density indicates the different sensitiveness to different body area. The parallel planes which are denser around the face not only solidify the hidden internal negative space but also portrays the fragility of the regions lie aside as they are less sensitive and easily impacted in crowded situation.
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M2
Design Digitization + Design proposal v.1
Plan
Front elevation
1) The creation of curved crescent-like sections which are arrayed in parallel. This layout has been used in the shape and alingment of the vertical and horizontal sections of the design. 2) The creation of negative space through the use of curvature. This has been incorporated into the shape of each individual serction in such a way that a negative space is created around the wearer’s
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Elevation
Isometric
Design Digitization + Design proposal v.2
Plan
Front elevation
Elevation
M2
Isometric
The second rhino model again focuses on negatice space and curving parallel planes. The idea of a hinge is also introduced trough the fanned array of planes which reflect the movement around a hinge. This also shows density as near the centre the ends of the planes are much closer, acting to solidify the internal negative space. Near the edge the planes are much more spread out reflecting the fragility of the outer areas of personal space.
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M2
Design Precedent research
[ C] Space was a temporary pavilion located
[C ] Space DRL10 Pavilion Designed and Developed by Alan Dempsey and Alvin Huang with Adams Kara Taylor and Members of the AADRL
in Bedford Square, London in 2008. It employs sweeping, thin, fibre reinforced concrete ribbons arranged in a profile and section shell. The [C] Space creates a sense of flow through
the repetition of lines which sweep from the floor, up as curving walls and around as the roof. The planes are joined using a notch and joint technique. [C] Space wraps around an asymetric area of negative space in which people may inhabit. The use of a profile and section shell means light may penetrate into the negative space creating geometric shadows.
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Design Design proposal v.2
Layers
Version1 Rhino model with changing density
M2
Version 2 Rhino model evenly spaced, denser
Interlocking Curvature Encase Flow
The overall discovery we found in the precedent is the aesthetic and structural design that created by the balance between the material thickness and the spacing between each parallel pieces. The interlocking are perpendicular that creates flush surface on both inner and outer extremes, which contributes on building a much clearer boundary of personal space. The third points we discovered is the notch joints employed in the precedent. Two perpendicular pieces are connect by notch joints with extra reinforcement. The discontinues planes are also applied in the precedent, however, this idea is not suit with our model which is in smaller scale. The interlocking slots will be explored through prototyping and the idea of gap will be considered as removal geometric sections.
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M2
Design Prototype v.1+ Testing Effects
1:2 scale pace board prototype, showing the flush curvature both insidide and outside. The light can not escape to much. Small prototype of transparent acetate, showing the light effect to highlight the internal structure.
In the 1:2 pace board prototype, we are mainly focusing on testing the stiffness of the interlocking slots and the strength of the whole structure with the template from the rhino model. With the digital design in software, we successfully achieved the smooth flush surface for both inner and outer space. However, we are seeking for more translucent ma-
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terial which can show our internal space, therefore, we made another two small prototype in transparent acetate and translucent polypropylene. With the material of transparent acetate, it provide an “invisible� volume between the occupant with the outer environment. However, it is believed that the material such like translucent
prolepropelene is more suitable to provide more sense of secure to the user as the user can hidden inside the structure without been seen by others. In addition, polypropylene can still let some lights go through the structure to shows the internal patterns which address our concept of the extremes of personal space.
1:6 scale prolepropelene prototype, showing how when we turn the angle, the view from outside to inside will be block by the vertical planes. And the translucent characteristic allows the internal space can still be seen.
Design Module 2 Reflection
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• In module 2, we continuously use the material system of profile and section to cre¬ate a volume around the head area, which defines the minimum and maximum areas of personal space. Before we completed our final shape of the prototype, we had already made few prototype to test our idea of the notch slot with different material. But it was likely that we made this prototype too early since we still hadn’t decide what our final design in m2 would look like. • Comparing to that, the NURBS technology saved us more time, we easily and efficiently applied the theory of abstraction from Week4’s reading(Scheurer, Stehling, 2011)in our designing process. We borrow the movement of hinge of the egg cutter and modified it through the fanned array of planes. In Rhino, we just need to insert a solid into another to get the Booleaned volume between two solid shape, which was directly connected to our concept of the difference between two extremes of personal space, this volume would be much harder to generated in the real life by just hand making.
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3.0 FABRICATION CHEN LIN, AMBER BARTON
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Fabrication Introduction
M3
Key concept that will continuously be developed is: - The use negative space as intimate personal area around the body. - The rotational elements that create a flow within the design which encases the body. - Materiality: Further exploration on polypropylene to test the deformation and shear force in larger scale. Consideration on different thickness in respect to structure, aesthetics, and lighting distortion. - Shape: Further refinement on the shape rather than natural sphere which can respond to the idea of personal space better. Consideration of anthropomorphic movements of the head, and development of personalization of the internal space should be taken. -joints: The length and width of the joints should be labelled accurately during digitalizing process. - Views: The point of view of the wearer must be clarified to allow for the individual to see out, without com-promising the distortion of an onlooks the view of the sacred internal space. - Placement: Further refinement of the physical
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M3
Fabrication Design development & Fabrication of prototype v2 Material: 1mm boxboard Digital Fabrication: Laser Cutter Scale: 1:1 Dimensions: 507 x 410 x 514mm Number of oieces: 54
This design also began to look at the body as site in terms of placement and movement within the internal personal space. It was very apparrent when wearing the design that shoulder moulding needed to be made. The chosen material was boxboard, mostly due to cheapness; however, the dificulties asÂŹsossiated with rigidity and fraying of material means we will not be using this in the final prototype. The views from inside, or lack thereof, suggest density of vertical elements may need to be lessened. There was also problems with the notch joints not being correctly cut, suggesting further refinement of joint system needs to be explored in the digital model.
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Fabrication Design development & Fabrication of prototype v3
evenly spaced, denser
M3
Creating mechanical movement
Stemming from the idea of the egg cutter hinge and drawing inspiration from the week 7 reading we explored the possibility of further exagerating the internal and external by adding movement into the design. The original sepherical rhino model was used to stimulate the creation of a physical prototype in which the front rotational sections could be brought upto the top to reveal the internal negative space. This worked on the same mechanism as a blind. This idea was transformed into a 1:2 scale box board model. After consideration of fabrication details and the desired articulation of personal space, we decided to further enhance the negative space through materiality and lighting; but we have included this model as an essential step in the thought process of what effects we wanted to focus on.
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M3
Fabrication Final Prototype development + optimisation
Size &shape& Placement We realize that the personal space should be more focus on the front and the centre of the body with curving along body’s own shape. The another reason we move the structure more forward is because it is decided that the back is less sensitive on addressing personal space. The original measurements from studies in M2 will be retained with the internal personal space being approximately ž of a head in a 160o rotation; and external personal space terminating approximately 2 heads. The size of the prototype has condensed upwards by around 50mm in order to fit into the fabrication restrictions. The whole structure will lie at the back of the head and extended to rest at the chest to secure the placement from falling.
Inspiration is drawn from this building as it defines a curvatious interiour space with repetition of parralel contours. The shape refelcts the auditorium layout, but takes this further by adding an element of organic flow and curvature. Heydar Aliyev Center Zaha Hadid Architects
Exploring the shape by play with clay. Finally generated a shape around back of the head and upper back, with a curving extension down the centre of the body.
Materiality: As the previous prototypes with box board had proved difficult to complete due to the rigidness of the material, it is essential that our final prototype has a degree of flexibility. The testing shows polypropylene is bendable for us to assembly without being ripped and also strong enough to selfsupport the structure when we adding more pieces together. However, the smoothness of polypropylene cause the problem of easily sliding apart. We have to be careful when we assembly and transfer the model. Polypropolene is cost effectively cut with a laser cutter as learned in week 6 reading. We used 1mm polypropylene for prototype making, however, the only available type of polypropylene for our final model was in 0.6mm thickness.
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Fabrication Final Prototype development + optimisation
M3
Joints:
The first prototype had problems with the joints not being printed correctly leading to problems creating the desired flush surface. This was reworked using the tweencurves comand on rhino followed by boolean difference. The notch joints are now 0.6mm by half the width of the section, meaning when both sides of the joint are slotted together they fit perfectly to create a flush internal and external surface, like that of the [C] Space Pavilion.
Effect(Transparency): Materiality is crucial to creating the effects of our design. We wished to formalise the barriers of personal space while still enabling a connection between the wearer and the outside world. We tested the use of completely translucent material in M2; however decided the acetate did
not create the desired sense of flow and layering. This lead use to explore completely opaque and reflective materials; however these allowed little interaction with the outside world, and completely obsqured te internal negative space. Our next exploration of materiality lead to the translucent plastic of polypropolene. This material created interesting distorions of views. As shown below layering of polyproplene leads to difference degrees of distortion. This
creates a tension between the invisble and visible boundaries, which represents the fluidity of personal space. Upon further exploration we found polyproplene takes on a glowing quality when exposed to
light. This glowing alludes to ones inner flame, which begins to light up our design, bringing it alive and blurring the line between body and structure.
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M3
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Fabrication Final Prototype development + optimisation
Fabrication Final Digital model
M3
TOP
FRONT
RIGHT
ISOMETRIC
AXONOMETRIC
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M3
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Fabrication Fabrication sequence
Fabrication Assembly Drawing
The labels indicate the order pieces were constructed. Crucial to assembly was the alignment of each notch on both the vertical and rotational pieces, as shown by the doted lines.
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The labels indicate the order pieces were constructed. The vetricle and rotational elements were simultaneously notched together beginging at the centre. Increasing ease of construction was reached as more pieces were notched together and the structure became increasingly self supporting.
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M3
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Fabrication Completed 2nd Skin
Fabrication Completed 2nd Skin
M3
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M3
Fabrication M3 reflection
Digital Weave University of California, Berkeley/Lisa Lwamoto,2004
Burning edge of paceboard
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• Most impressive concept that I learned in module 3 is how digitalisation and physical model help us to develop our idea step by step. Process of digital making shows more conceptual design such like the shape volume, frames, which help us fabricate much more precise and complex project. The physical prototype help us test through the actual effects and the structure in the other hand. Both of them are crucial to fabricate our designing idea and concept physically, and neither of them can replace each other. Weak six reading (Kolarevic 2003 ) mainly introduced various digital fabrication processes on two-axis CNC cutting, and the laser cutter that we used through this module for both pace-board and polypropylene prototypes. The burning edge on pace-board prototype was caused because the laser cutter works by using a high intensity beam of infrared light in combination with a jet of carbon dioxide gas to melt the material that is being cut. Fortunately, polypropylene absorbs light and didn’t get burned. We successfully use
“cage” to adjust the shape of both internal space and the outside case for personalisation of our design. (as shown on the right) • Our design idea was encourage more freely and conveniently since the digital technology eliminates the gap between virtual model and physical outcome. Complex geometric shapes can be easily formulated by digital technologies. This conclusion from week 7 reading had been deeply experienced when we optimize the flow of the curvature for our project. And with the three dimensional software such like Rhino, our design thinking and mind are energized and opened to a larger boundary. • In our fabrication, final prototype were benefit by the digital techniques with Rhino and laser cutter. The contour command in Rhino and the precision of laser cutter afforded us a perfect flush surface for our final presentation. The case “digital weave” that shown in Lisa Iwamoto( 2009) was good inspiration for us in the aspects of using of light and layout, as we have similar design process.
process of refigure the shape for internal space
4.0 REFLECTION CHEN LIN
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M4
REFLECTION • As fossil fuel change the world in eighteenth and nineteenth century, digital technology brought incredible changes on modern century. Before the reading through The third Industrial Revolution, I will never noticed that the digital technology can related to economic and even political struc-ture. The printing technology started to become a critical management tools in organizing the business enterprise and facilitated uniform pricing system for industrial economy. • The gap between abstract designing with physical production is eliminating with the quick de-velopment of digital technology. Designer are able to move more fluidly between design and construction. The “do-it-yourself” attitude is enhanced to encourage people to become more creative with less boundary. New distributed capitalism and manufacturing market were es-tablished such like ETSY and KICKSTARTER to let people share and exchange their idea. The designing capacity is no longer a centralized or manufacturing process. The shift from markets to network brings more energy into world of design and fabrication. While network connect the entire world, creating a new distributed and collaborative space for sharing knowledge and spurring creativity and innovation, digitalized ideas are more easily to be shared among the people all over the world. The generalization and accumulation of digitalized ideas that stored on internet contribute to build a abundant resource for future study, and development. • With the digital revolution, design becomes no longer an abstract virtual process, it bounds be-tween visual design and physically construction such like the way we produce our
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second skin project. Using the digital software to facilitate model fabrication, and merge the virtual image into numerical information to communicate with the physical fabrication machines such like la-ser cutter. The use of digital software improve our efficiency and afford more potential on geometrical complexity in design and making. In addition, digital fabrication and assembly saves a lot of labour and also increase the precision of the actual production as all the infor-mation was transform directly from designer’s hand to the manufacturing machine. • With the development digital technologies, unique production becomes as easily designed as identical ones. However, although computation provides great certainty and predictability we still need to beware of the risk in digital making. As the fabrication is replaced by intelligent machine, the risk shifts from the hand ( with industrialization) to the human input ( with com-putation). That can be absorb in our model making process. When we sectioning the vertical component, the little pieces locates at the extremes of two sides was looked likely slotting with the horizontal fanned planes, but they were actually not physically able to fix with the horizontal sections. That was the risk that we haven’t thought about when we input the digital data into the laser cutter, and what we can do was to give up these two little pieces.
APPENDIX
M5
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M4
APPENDIX
Bibliography:
Sommer, R. (1969). Personal space : the behavioral basis of design, Englewood Cliffs, N.J. : Prentice-Hall Scheurer, F. and Stehling, H. 2011,Lost in Parameter Space: Architectural Design, Wiley, 81 _4_, July, 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 Rifkin, J & Macmillan P, 2011 The third Industrial Revolution ,pp107-126 Bernstein, P & Deamer, P 2008,Building the Future: Recasting Labor in Architecture, Princeton Architectural Press. pp 38-42
[C] Space Pavillion Information (page 16):, photography, viewed 8 June 2015,<http://cspacepavilion. blogspot.com.au/> Heydar Aliyev Center, photography, viewed 8 June 2015, < http://openbuildings.com/buildings/heydaraliyev-centre-profile-41699>
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