DIGITAL DESIGN + FABRICATION SEMESTER 1 2016
THE SLEEPADILLO Danielle Laqui 779943 Lyle #8
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0.0 Introduction The Sleepadillo is a protective sleeping pod that covers the head and supports the neck area. The original concept was a compressive, folding panel. In the progression of this journal, explorations and prototypes of this concept are documented.
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1.0 I D EA T ION
1.1 OBJECT
SUBJECT FOLDING FAN DIMENSIONS GUARD LENGTH 210MM MATERIALS WOOD, PAPER, ADHESIVES, WIDTH OF GUARD STARTS A RIVET AT 7.5 MM AND WIDENS TO 11MM; RIB WIDTH 3MM PROCESS MEASURING, CUTTING, FOLDING, ADHERING AND PAPER WIDTH BETWEEN RIBS STARTS AT 6MM AND RIVETING The chosen object is a folding fan. The folding fan is composed of individual ribs made of either wood or plastic held together, at equal intervals, by a semicircular sheet of paper attached through a singular pivot point with a rivet.
This particular fan is made of paper, two wooden guards, twenty six wooden ribs and a wooden rivet. Folding fans and fans in general are used to induce airflow for the purpose of cooling and stimulat-
ASDF
The fan is scanned as flat as possible. The scans of the fan, while opened and closed, are then imported into AutoCad, traced and scaled according to measurements obtained manually. The measurements are done both digitally and manually to guarantee the accuracy of said measurements. Drawing of fan when it is fully opened.
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These are traced drawings obtained from the scans of the fan while it is closed.
1.2 OBJECT + SYSTEM ANALYSIS
it can open one-way
Depending where the fan is held upon opening,
or towards opposite directions (two-way).
The rivet at the pivot point allows for this momevent to be possible. Tight enough to hold the entire fan together and loose enough to let it open.
The fan also has the ability to stand lengthwise if the right balance and adequate ribs are opened. This feature is interesting as most of the weight is on top towards the pivot point yet the fan is standing supported on mostly paper.
Top view of the fan standing.
Holding at one guard, the fan opens freely with a short flick.
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At top view, the fan is only 10mm x 31mm.
ELEMENTS OF INTEREST
The pivot point and rivet detail.
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The folding fan allows for various design references through its minimal yet efficiently adequate construction. Design opportunities include progressive concepts and transformative dynamics. It is interesting to note that the structural strength of the fan is in the head, where the sticks are thickest and are stacked on the rivet, while the weakest structural areas are the folds in the paper leaf but then, the fan is held to its entirety not by the rigid frames but rather with its soft component, the paper. The fan is perhaps a demonstration of an interdependent, symbiotic construction.
1.3 VOLUME
Ordinary sheet of paper, product
Ability to carry some weight without
via origami.
damage.
Reconfiguring the steps from 2d version, paper takes on a shell-like form.
It continues to have the ability to take some weight.
Compress.
Almost completely.
Made in varying sizes and number of folds.
Without pressure or weight.
FOLDING METHODOLOGY FOLDING METHODOLOGY Starting from an ordinary A4 sized paper, a series of mountain and valley folds turns the sheet into a patterned paper that can carry some weight without deformities. OUTPUT RESILIENCE As evident in the photos, the paper can compress and explode thereby making it similar to the fan. OUTPUT RESILIENCE
1.4 SKETCH DESIGN PROPOSAL FLUID | ALLEVIANT INSTALLATION |STRUCTURED SOFTNESS
How does this respond to your personal space? This starts out as a scarf or collar and through dynamic growth, lets the user detach from her surroundings. If modified with fabric, it blurs the visibility of the user to the outside world and vice versa.
1.4 SKETCH DESIGN PROPOSAL
STARK | DEFENSIVE DISCONNECTIVITY | TRANSFORMATIVE
How does this respond to your personal space? In different settings, each individual has varying comfort levels. This approach understands that deviation and allows the user to adjust how its state according to her own preferences.
1.4 SKETCH DESIGN PROPOSAL COCOON | VARYING OPACITY | QUARANTINE | EDGES
How does this respond to your personal space? The object allows the user to unfold her own boundaries thereby provding a sense of utter disconnectivity and solitude to the surroundings.
2.0 D ESIGN
2.1 INTRODUCTION We derived ideas from our initial designs which were centered on privacy and comfort and continued to focus on the head and neck as the key body parts where we would concentrate our model. Through modeling around the head, we aim to simulate privacy and security by creating a volume that would provide a sense of boundary and obstruction from the surroundings through partial visibility while modeling around the neck would provide a sense of comfort and support as well as restraint through restricting positions that would cause discomfort or strain.
Dee’s Initial Design
Mo’s Initial Design
Mo’s Initial Design, Rear View rotated counterclockwise
We observed a common fault in our initial designs which is the limitation of structure and form being only expandable towards a direction. Rather than following a linear folding pattern similar to the fan, we experimented with combining different directions of folding to enable compression and tension in various or multiple directions in order to make the design flexible and adaptive with body movement.
Dee’s Initial Design
REFINED SKETCH MODEL DEVELOPED PYRAMIDAL PANEL PROTOTYPE EXPANDABLE TOWARDS TWO DIRECTIONS
Mo’s Initial Model
Polar Array
Expandable in two dimensions
Array in two perpendicular directions
Expandable in two perpendicular directions
But remarkable in only one dimension
Dee’s Initial Model
We explored and developed an approach that allowed a wider range of opportunities for flexibility and fluidity through pyramidal panels. These panels will continue to follow a similar mechanic from the previous sketch models but will be a more rigid and structured as well as flexible and still expansive design. Carrying some weight
2.2 DIGITIZATION + DESIGN PROPOSAL V.1
ISOMETRIC
ISOMETRIC
FRONT
SIDE
PLAN
FRONT
Our first design was concentrated on the neck and exploring opportunities to follow the spine. This is a neck support using the expandable pyramid pattern that can be expanded and contracted lengthwise and crosswise.
Evident in the side elevation, the design follows the contours of the neck and throat area while maintaining support for the jaw and chin. We aim for the entire model to adjust on varying angles depending on the user’s sleeping position.
BOUNDARIES FOR COMFORTABLE PERSONAL SPACE
PLAN OF PYRAMIDAL PANEL
2.3 PRECEDENT RESEARCH California: Stage Set for John Jasperse
FLEXIBILITY | GEOMETRICALLY & SPATIALLY CHANGING | HELICORADIAN
AEDS/ AMMAR ELOUEINI
“As opposed to serving as a backdrop of immobile form for the stage, the set was designed as a morphing structure..”
“.. the form of which was developed to allow for maximum flexibility, creating a geometrically and spatially changing set that emulates and adapts to the performers’ movements.”
If the surface from the precedent follows a spiral, similar to the helicoradian plant shown on the right, it produces the similar transformable volume but with the added feature of fluidity.
A helicoradian plant from the movie ‘Avatar’ based on a christmas tree worm. Both the helicoradian plant in Avatar and the christmas tree worm in Earth follow a rule: that upon touch or movement, they coil and retract. They are both cone-shaped spirals.
“.. the design unfolded into individual segments that piece together to form the transformable surface. “..maintaining translucency and reflectivity so the surface absorbs and diffuses light” We aim for a model that morphs and adapts to the user’s movements - a transformable volume that also maintains translucency similar to this precedent.
A sketch of the plan view of the precedent concept following a helicordian form. A model derived from the plant.
The mean of these two concepts is 1 a material that maintains translucency and 3 the response to said movement is retraction reflectivity – to diffuse sight of public space or resistance – to compress the sleeping pod and lighting or maintain its current shape 2 a system that is sensitive and adapting to 4 expansibility from retracted form – to allow movement – to transform according to ne- for fuller coverage. cessity
PRECEDENT APPLIED TO DESIGN
RESPONSIVE | TRANSFORMING | ADAPTIVE | ISOLATION
The precedent influenced our design to be ergonometrically sensitive in a way that the sleeping pod is more adaptive to human movement and lifestyle.
2.4 DESIGN PROPOSAL V. 2
FLUIDITY and SUPPORT This model is modified particularly to the neck area where it aims to support its user during sleep and refrain from uncomfortable and straining positions. TRANSFORMABLE The model can be collapsed into a flat collar-like structure morphing into a thin, more mobile object or fully expanded so that the coverage reaches the eyes as well.
1 FRONT VIEW
2 SIDE VIEW
3 WITH ONLY THE FIRST LAYER
4 COMPLEMENTED WITH AN INVERSED DUPLICATE LAYER
3 THE FIRST LAYER The first pyramidal panels layer dictates the form of the model particularly the curves that the panels follow and the varying sizes of the panels. 4 INVERSED DUPLICATE LAYER Through an inversed duplicate layer, the pyramid panels are more cohesive to each other and the mechanics of the model is evident through the exterior as well.
The pyramidal panel layer is duplicated, inversed and attached in between parallel pyramids.
Here is how it works under tension
Carries more weight, allows the entire set of panels to be more cohesive with each other
Compresses into almost a flat surface with enough pressure
VERSION 1 Made out of two similar sets of pyramidal panels, this model offers a rigid and semi-flexible support system for the neck and head area.
2.5 DESIGN PROPOSAL V. 3
EXTERIOR PERSPECTIVE
A REFERENCE MODEL OF THE HELICORADIAN PLANTS
TOP VIEW
INTERIOR PERSPECTIVE
HELICORADIAN From the first design, we incorporated the precedent - the idea and effects of a helicoradian plant - with our initial objectives to support the user in his/her sleep and to provide a sense of privacy and security.
GEOMETRICALLY AND SPATIALLY CHANGING Through the helicoradian form, our pyramidal panels which are linear and edgy begin to follow a set of curves forming a helix and therefore becomes a fluid design that aims to be more ergonometrically compatible.
Our initial approach following this spiral and helix form will continue to alllow the user varying settings of the sleeping pod but this one offers more coverage and fluidity. This helicoradian approach is our improved design development as it offers more opportunities for transformation and expansibility.
STRUCTURED We perceive this development as a better overall approach to designing a sleeping pod since it fulfills our criteria of privacy, security and comfort the best.
INVERSED LAYER Ideally, the inversed layer will be made of a different material that allows translucency yet maintains rigidity and support.
PRIMARY LAYER This layer follows ergonometrics and dictates the overall form. It is structured with a harder material yet is still able to compress and expand upon force.
ISONOMETRIC The result is a variably expansible sleeping pod that allows the user to dictate different settings depending on personal perception of comfort and security.
2.6 PROTOTYPE V.1 PANELS A couple of hundred pyramids have been printed for the making of this prototype.
PREPARING THE INDIVIDUAL PANELS
FORMING INTO SETS DURING ASSEMBLY
THE DUPLICATE This set of panels has a much smaller composition since it is meant to fit around the nooks of the primary layer. THE PRIMARY This helix layer bigger panels to termine and form entire structure of model.
A SAMPLE SHEET FOR PRINTING
THE HELIX The assembled panels begin to follow the predetermined form of a spiral.
has dethe the
2.6 TESTING EFFECTS
THE PROTOTYPE The fragment of the design seems to be promising as at this stage, we could already initially see the opportunities presented and how it satisfies the necessities for a sleeping pod. THE PRIMARY LAYER Is the foundation of the entire design. It allows the user the initial settings for privacy and security and can function adequately on its own.
THE INVERSED LAYER This helix layer is designed to complement the primary layer as well as to structurally support the model through ensuring the unity and integrity of the design.
3 .0 F A B RICA T IO N
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3.1 INTRODUCTION
INVERSED LAYER
FOUNDATION LAYER
ISONOMETRIC
The Helix Snooze The idea for our sleeping pod is a compressive, highly portable therefore convenient pod that can be expanded from an almost flat , in its fully compressed, form that maintains rigidity to entail boundaries and a sense of privacy. TOP VIEW
Design Considerations Flexibility We aim for a model that features varying settings of coverage depending on the user’s preference.
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Flexibility is the core of our design. With it follows privacy, convenience, comfort and strength as our individual objectives.
INTERIOR PERSPECTIVE
The panel units to be fabricated are to be coalesced into a self-supporting form capable of expansion and compression.
Testing Mechanism For our previous journal, the prototype was able to test overall shape but failed to test the actual mechanism of the panel. The problems: the unrolled surfaces in the initial model had curved edges therefore exploding the pyramids into individual triangles upon unrolling. This curvature also restricted compression.
PREPARING THE INDIVIDUAL PANELS
The solution: Understanding the difference between mesh and NURBS will allow us to unroll without exploding the pyramid to individual triangles because the edges are now straight. Folding the pyramid from a pyramid plan instead of assembling from four curved triangles gives the opportunity to construct a more rigid and actually compressive panel. Readdressing Form Before we knew about meshes and NURBS, we attempted to develop our form further through converting from curves to a sharper, more planar approach. We considered that converting our approach would make the model easier to construct without sacrificing aesthestic values.
*However, during discussion with our tutors, we have concluded to disregard this exploration and continue with our helix form because the planar approach might cause complications with expansibility and require another mechanic as well as the tutors both suggest that the helix appeals better.
Accessing Compression Since compression is the core of our design in order to achieve flexibility, we considered two approaches to improving based on the faults we have discovered from our prototype. First is figuring out how to unroll without exploding the pyramids to several triangle units and instead in a single strip and second is to redevelop a form that would not curve our triangles. Fortunately, the first one resolves our issue adequately.
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DESIGN EXPLORATION AND FORM FINDING Mechanism Concern The prototype we had early on only had issues because of the mesh to NURBS conflict. Upon resolving, mechanism works as prior prototypes have. We have continued to explore opportunities for further developments in our design. Attempt to panel inwards (towards, rather than away) Ergonometrically organic form inside for user’s comfort
Expansion to full coverage may be via twisting or pulling up.
As formerly mentioned, we have decided not to pursue this exploration as our current design is sufficient.
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Readdressing Form Should we have followed this exploration, our panels on its surface would be following grids.
READING RESPONSE WK 6
Architecture in the Digital Age - Design + Manufacturing/ Branko Kolarevic, Spon Press, London c2003
Briefly outline the various digital fabrication processes. Explain how you use digital fabrication in your design? Of four digital fabrication processes, from two-dimensional to subtractive and additive to formative, our design, being both panel and folding, denies to follow these processes. Although the helix design considerably fits into two-dimensional fabrication, the cutting file in that process continues to a CNC milling machine while our design prototype entails a highly selective sensitivity to the choice of material as material has to be fairly rigid and fairly flexible thereby making paper the material of choice hence, CNC milling becomes unnecessary. Digital fabrication allows us to customize hundreds of pyramids to follow a curve - making them varying in size - for fabrication in a matter of days. If we were to do this manually, we would have to compute the dimensions of each triangle in a pyramid in order for us to accurately calculate how it would turn to compose the form we have designed.
Frank Gehry’s Nationale-Nederlanden Building follows the same aesthetic we are trying to achieve: to modify planar and straight materials to follow a curve. The structure features irregularly-shaped glass panels cut using digitally-driven cutting machines. The glass follows the form which is the opportunity created by this technology: structures are no longer restricted by the limitations of its material as every component of design can now be adapted to the designer’s preference.
How does the fabrication process and strategy effect your second skin project? Even though we have digitally unrolled and nested our cutting files, we realized there is no method of fabrication available to mechanize the process of cutting our choice of material. Our fabrication process starts from plotter-printed A0 nested drawings then proceeds to manual trimming, folding, attaching and general assembly. SInce our design is involved with plenty of units and manual, by-hand processes, prototyping multiple times becomes inefficient and time-consuming therefore we have to meticulously prepare and organize our files to minimize errors upon assembly.
READING RESPONSE WK 7
Digital Fabrications: architectural + material techniques/Lisa Iwamoto. New York: Princeton Architectural Press c2009
Describe one aspect of the recent shift in the use of digital technology from design to fabrication? “Making becomes knowledge or intelligence creation. In this way, thinking and doing, design and fabrication, and prototype and final design become blurred, interactive, and part of a non-linear means of innovation.� Digital technology has converted and streamlines the linear process of production, often eliminating intermediate steps between design and final production. Digital processes come with its own set of restraints and possibilities but nonetheless, narrows the gap between representation and building.
Huyghe+Le Corbusier Puppet Theatre | MOS 2004
Unfolded Panels
It took three-dimensional-computer modeling and digital fabrication to energize design thinking and expand the boundaries of architectural form and construction. Digital design and fabrication open doors to highly progressive innovations that have the potential to become solutions to actual problems. Digital fabrication changes the conditions and parameters of production into a more efficient system where producers can constantly create and develop their designs.
Formed Plastic Panels
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Assembly
READING APPLIED TO DESIGN
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Referencing from the lectures and readings, what is the implication of digital fabrication on your design ?
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Tessellation Tessellation is a collection of pieces that fit together without gaps to form a plane or surface. Working digitally enables movement from one representational format to another. This series of translations allows for a more fluid fabrication process while significantly reducing the labor assicated with taking one tuupe of design medium and turning it into another.
1| A strip for folding.
2| Folding forms volume.
A module’s linversed strip.
A panel from our design.
The Helix Surface
3| Tessellation forms a surface.
Folding “Folding turns a flat surface into a three-dimensional one. When folds are introduced into otherwise planar materials, those materials gain stiffness and rigidity, can span distance, and can often be selfsupporting. Folding is materially economical, visually appealing, and effective in multiple scales.” “..the fold, like all other theoretical and conceptual constructs, necessarily exceeds the formal domain of architecture. “ Mesh and NURBS have also been discussed in the reading but we have already understood this distinction prior on.
Typically far more complex to construct than flat ones, and tesselation offers a way to build smooth form using sheet material.
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3.2 DESIGN DEVELOPMENT V. 2
Less Layers The final design comes with less layers of bigger pyramids since the first proposal had too much.
Unnecessary Surfaces We have discovered that paneling produced unecessary surfaces that are half a panel and have deleted these prior to unrolling.
The Helix Snooze We have decided to commit to our panels, technique and spiral form. The level of complexity to execute this design and fulfill its objectives is a very challenging complication.
PLAN
FRONT ELEVATION
SIDE ELEVATION
3.2 PROTOTYPE V. 2
The tessellated and folded pyramids.
Curve and are able to turn. Compresses as expected.
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3.2 PROTOTYPE V. 2 To attach the inversed pyramids with the foundation layer, we create tabs on the inverse pyramids and incisions on the foundation pyramids to seal their connection.
The connection approach is a system of joints in itself.
Fabricating per strip even though we approached the unrolling per module.
The two triangles from the pyramid are attached to form the volume per each pyramid in the strips. Our model can only be fabricated with paper and we have chosen 190gsm paper, may either be glossy or matte, and decided to make a distinction between the strips through the use of color.
ASSEMBLY DRAWING A module encompasses one turn of the spiral. The number of pyramids that form this turn vary depending on the curve of which it follows. _____________________________________ 1| The upper strip.
A module is broken down into three parts: The foundation layer of two sets of pyramids: 1| the upper strip and 2| the lower strip. 3| The inversed set of pyramids - the inversed strip. 3| The inversed strip.
2| The lower strip.
_____________________________________ The model has a total of six modules: four upper strips, five lower strips and six inversed strips. The ratio isn’t equilateral because the pyramids of the strips are not of the same dimensions and therefore an upper strip may have six pyramids paired with a lower strip of only four pyramids and an inverse layer of five pyramids to coalesce them together.
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A Module.
ASSEMBLY 1 Each module composed of three strips are printed. 2 The strips are then cut with at least half a centimeter of padding so as to provide tabs for attachment. 3 The strips are folded to form triangles.
The inversed strip not only secures the two foundation strips together but also allows the entire model to be compressive.
The upper strip.
4 A set of four and/or eight triangles in the strip are then attached from end to end to form a pyramid.
The lower strip. The inversed strip.
Each pyramid in the foundation strip are composed of only four triangles while the inversed strip each have eight.
For the purpose of efficiently nesting the paper, we organized the layout according to strips and not modules.
The variety of folding is the essential key for the compressive feature of the model.
*Drawings and layouts are not to scale.
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An inversed strip from module 01 ready for printing.
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Not unjoining them will result into the unrolled inversed strip to the left.
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The lower strip from module 01 ready for printing.
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An upper strip from module 01 ready for printing.
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Having eight folds for each pyramid denote the primary four mountain folds as well as four valley folds in between them. This allows the pyramid to convert itself from its form to an almost flat surface the design’s compressive feature. A mountain fold.
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Unrolling the Helix Besides dividing the helix into modules for unrolling, we have also learned that unjoining edges allow the strips to be unrolled in the manner for the lower strip and upper strip on the leftmost of this page.
Formerly, our unrolled surfaces would overlap and therefore, were not viable for printing.
A valley fold.
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FABRICATION SEQUENCE
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Unrolled surfaces are trimmed from A0 paper.
Initial folding begins to form volume.
Tessellation forms coverage.
The inversed strip.
Strips start to follow the curve and turns.
Tessellation coalasce into a surface.
3| Tessellation forms a surface.
Attached to the foundation strips.
3.2 PROTOTYPE V. 2
3.3 FINAL DESIGN DEVELOPMENT
The model has been significantly reduced to the fundamental idea. Due to the time constraint, multiple unforeseen errors and constant failure, continuing previous design approach would need more time to be successfully executed as it is tedious trial and error.
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The final model is my individual work from concept to rhino modeling and fabrication.
3.4 FINAL DIGITAL MODEL
Front A section of two panels has been cut off to allow partial visibility to exterior surrounding.
Rear A section of several panels has been cut off to allow ventilation.
Side Similar to an armadillo, the design aims to provide a sense of security and is protective aesthetically and functionally.
Top Very akin to the structure of an armadillo.
3.5 FINAL PROTOTYPE
The model is unrolled and nested into an A0 sheet for prototyping. This is then printed into an ordinary 80gsm paper to test form and scale relative to ergonometrics.
The tabs provide some difficulty as they are attached to steep edges and narrow spaces, these have been adjusted for final fabrication.
The 80gsm paper successfully holds form. I have discovered that it needs to have perforated lines to make it more compressive and this has been added to the final print.
The tabs effectively attach the head modules and allow them to follow a curve.
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3.6 ASSEMBLY DRAWING
The model has again been divided into modules for unrolling. The final material used has been 600mm x 600mm white polypropylene, two strands of thin garter and polypropylene super glue.
There is a total of ten modules for the head fragment of the sleeping pod; a total of three for the neck compression fragment; two connectors for the neck to the head; and one aesthetic V.
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3.7 FABRICATION SEQUENCE
Modules are detached from polypropylene and folded according to assigned crease.
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Both parts of the sleeping pod are assembled via attaching the added tabs with super glue.
3.8 COMPLETED SECOND SKIN
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The Sleepadillo Is a two-part sleeping pod initially designed to be compressive and conveniently portable. Ideally, both modules would compress to an almost flat surface and would allow users several settings of both angle and visibility to suit their preferences. Module 1: Neck The pod features a compressive neck collar that adjust depending on the user’s neck movement and supports the neck and head during sleep. Module 2: Head The pod features an expansible head module that allows the user to simulate a boundary to his or her surroundings with varying levels of visibility.
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In Use Head Module The Sleepadillo is used as how one Can ideally used however the user would use a hood: just pull it over wants to use it, sideways or frontways. your head. If only the material was successful.
Full Expansion Module Lock Fully expanded, the sleepadillo Both modules may actually lock toguarantess no visibility both ways gether when fully expanded. and utmost privacy.
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4 .0 REF LECT I O N
Digital Design and Fabrication has allowed me to be more aware of the feasibility of my concepts and design as I would have to prototype and fabricate my models. The studio has been enlightening of the processes behind a form, particularly with my panel and folding and what follows thereafter. It was challenging to think in this system as I have never personally had to be aware of how a design (not including buildings and structures) will be executed physically before. In example, architects don’t really unroll the building they design. The studio helped me develop an understanding of how small-scale models similar to the ones established in class can influence an entire design process and understand how some structures like a Gehry building would be efficiently designed both physically and digitally. Overall, Digital Design and Fabrication enlightened me to be aware of smaller processes and be informed of my design approaches.
The Sleepadillo’s further versions would be made of a better material. It may even be partly involved in the skin and bone approach. The quest for the adequately flexible and rigid material has been tricky as materials that hold form as a fragment of the model fails to hold the form of the entire model or becomes too heavy or too rigid to maintain the compressing feature of the design. It is a scale that I frankly failed to strike perfectly. Perhaps having a compressive panel was too ambitious as it would have been successful if there had been more months to prototype so unfortunately, I wasn’t considerate of the given time frame. Our tutor commended the ambitions of the initial concepts yet also agreed that the design must be reduced and simplified. If I had made more informed decisions with my design, i.e. known the perfect material, had less errors and limitations, perhaps I would have developed The Sleepadillo so that it achieves full compression, maintains form when fully expanded and is ergonometrically perfect for sleep.
Marble’s Imagining Risk has mirrored what I have contemplated throughout the duration of the subject. That architects are disconnected is the accurate phrase to conclude my reflection for the semester. This is my sixth year in architecture school, after almost finishing my five-year program in Manila, and I haven’t known this much understanding of the details and processes to produce my design because fabrication and production have always been someone else’s responsibility.
Digital Design and Fabrication allowed me to experience what would have been someone else’s responsibility firsthand. Perhaps I might have been ignorant as I have grown accustomed that an idea is enough – that it is another profession’s responsibility to guarantee the success of this idea and minimal knowledge of those processes, knowing only the basics of other disciplines is enough. A little like Gehry, yeah? Just designing and it’s up to everyone else to make it happen. Although DDF has been difficult and tedious, this newfound understanding, appreciation and awareness of my work is valuable for future concepts and projects.
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5 .0 A P P EN D I X
CREDITS Page Cover 2&3 5 Introduction 6 Ideation 7 8 9 10 11 12 13 14 15 16 Design 17 18 19 20 21 22 23 24 25 26 27 28 29 Fabrication 30 31 32 33 34 35 36 37 38 39 40
Drawings
Computation
Model Fabrication Model Assembly Photography
Writing
Graphic Design
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Danielle Laqui Mo Li
Heath, A., Heath, D., & Jensen, A. (2000). 300 years of industrial design : function, form, technique, 1700- 2000 / Adrian Heath, Ditte Heath, Aage Lund Jensen. New York : Watson-Guptill. Sommer, R. 1969. Personal space : the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J. : Prentice‐ Hall, c1969.A Scheurer, F. and Stehling, H. _2011_: Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 _4_, July, pp. 70‐79 Asperl et al, 2007,Surfaces that can be built from paper / In H.Pottmann, A.Asperl,M.Hofer, A.Kilian (eds) Architectural Geometry, p534‐561, Bentley Institute Press Kolarevic, B 2003, Architecture in the Digital Age ‐ Design and Manufacturing /Branko Kolarevic. Spon Press, London Marble, S, 2008. Building the Future: Recasting Labor in Architecture/ Philip Bernstein, Peggy Deamer. Princeton Architectural 38-42
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