DIGITAL DESIGN + FABRICATION SM1, 2015 M4 DESIGN JOURNAL NICHOLAS DEAN
(699066) ROSIE GUNZBURG , THURS 1-3pm
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CONTENTS MODULE 1 - IDEATION
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MODULE 2 - DESIGN
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MODULE 3 - FABRICATION
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MODULE 4 - REFLECTION
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APPENDIX 39
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MODULE ONE
IDEATION
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IDEATION
MEASURED DRAWINGS
As identified in Jenson’s ‘300 years of Industrial Design’ (2000), observation and accurate measurements allow for a greater understanding of the selected object. Due to the curved nature of the pineapple, we resorted to taking photographs of the plan view and various elevations of the pineapple next to a ruler, of which acted as a reference point in deriving the relevant measurements. The pineapple was analysed based on two distinct segments, the overlapping leaves and also the paneled body.
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IDEATION
RHINO MODEL The proportions of the pineapple determined through the measured drawing were then used to generate a digital model of the object in Rhino. Using many of the commands learnt through the Cheng reading (2008), the panels in tesselation around the body of the pineapple were able to be clearly designed, much the same with the elongated leaves that branch out from a central point on the top of the object.
PLAN VIEW 8
LEFT ELEVATION
RIGHT ELEVATION
PERSPECTIVE VIEW
IDEATION
DETAILED ANALYSIS OF OBJECT The material system of Panel & Fold is defined through the unique characteristic of tesselation, whereby shapes are repeated and combined in a way that creates a continous mesh structure.
In its most simplified form, the panels are seen to be raised to a single point in the centre, adding depth and texture to the object. The unique characteristics of the pineapples panels were then studied in order to develop an understanding about the way in which the panels varied slightly in form, not conforming to any strict parameters. The organic nature of the tesselation saw the presence of square, pentagonal and hexagonal panels forming the outer skin of the object.
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IDEATION
RECONFIGURED OBJECT SKETCH MODEL Choosing to further the idea of panels in tesselation, I incorporated the overlapping sequence from the leaves as a means create depth and complexity within the paneled surface. Each row of panels is horizontally offset from the row prior in order to allow for the panels to form a continous surface.
The curved nature of the pineapple was exaggerated within this sketch model as I wanted to examine the effects of both an increased and decreased radial arch on the way the panels align. It was made apparent that a smaller radius results in the panels being subjected to a significant amount of tension, of which could potential lead to elongated panels at such points.
IDEATION
SKETCH DESIGN #1 The penlling elements drawn from the pineapple have been used in a shield-like form that conceals and protects aspects of the human body that are most vulnerable.
Front Elevation
Back Elevation
Additional edges are added to the panelling mesh in order to create curvatures.
Each panels could be seperate, yet joined together through a continuous surface.
IDEATION
SKETCH DESIGN #2 Linking the notions of defense and interaction, this design seeks to protect the back whilst also visually openning up, in a sense, to the environment toward the front of the user. It was intended for the design to encourage other individuals to approach the user from the front, as opposed to surprising them from behind and catching them off guard.
The same branching concept has been harnessed in this design.
This sketch desgin focuses on the aspect of revealing as a means to interact and communicate. 12
IDEATION
SKETCH DESIGN #3 This design adopts the leaf elements of the pineapple as a means to create form. Layering and folding allow for the rotation and depth within the design.
The 2nd skin could have different states depending on the user, that is, in the prosence of danger, the panels could fold up and out as a defensive mechanism.
Possible mechinasm to control the folds of the 2nd skin: strongs could pull the flaps up and out at the clenching of a fist. 13
MODULE TWO DESIGN
Nicholas Dean (699066) Riley Woosnam (639454) Adem Sahin (695402) Gareth Seddon (586527)
DESIGN
DEFINING PERSONAL SPACE When studying the human body and one’s personal space, our group immediately addressed the concept of perception and the way we are able to respond and interact with external stimuli in our surroundings. In line with the topic of personal space, we characterised perception based on sight, sound and touch, as these were more strongly related to an individual surveying their environment. An invasion of ones personal space, therefore, was recognised as an area around the human body where perception is hindered or lessened, thus resulting in a vulnerable state. The back then became the focal point of our design due to a persons restricted vision and inability to scope out their surroundings through touch. Our thoughts at this stage of the design process were to design a defensive mechanism that manifested one’s personal space (Sommer, 1969) and sought to ward off threats that originate from behind a person.
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DESIGN
PANEL & FOLD PRECEDENT STUDIES Le Corbusier’s Puppet Theatre was drawn on for inspiration for our panels as it emphasised the effects of triangular lines and the way in which folding and tesselation can be used to construct a space. The highly angular shapes form a curved space by folding and overlapping each other but also maintaining the diagonal pattern throughout the whole structure. By incorporating the moss, the designers have camouflaged the modern design into the landscape by complimenting the neighbouring trees. The interesting aspect of this design is the highlights that shine through the lines and folds between the triangular shapes at night. By using the tesselating and folding methods of compostion used in the Puppet Theatre, a design based on the angular lines and repeated modules could be both aesthetically appealing and dynamic in its function on the body. By using light behind the folds and lines between the triangular pieces, the design could also become a stronger.
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DESIGN
ADOPTED DESIGN FOR DEVELOPEMENT Moving forward as a group, we decided to further my sketch idea of the spinal structure from which panels could protrude out from. We also examined the functional nature of Gareth’s reconfigured object whereby 2-dimensional panels protrude out from their original state of rest as a result of compression. This idea of a series of ridges protruding out from the spinal cord became the basis of our design and what we intended to base our later designs on.
DESIGN
RHINO MODEL DEVELOPEMENT 1
Our first Rhino model saw the presence of protruding ridge panels down the spine as a means of defense, of which aligned with our definition of personal space. Our intention for this design was for the panels to be dynamic, flattening and protruding out based on compression which was applied by the user. These two different states, relaxed and defensive, were to be representative of the emotion state of the user at certain points in time.
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DESIGN
RHINO MODEL DEVELOPMENT 2
Inspired by the work of Le Corbusier and the way in which panels could create significant visual effects, our second Rhino model development introduced 3-dimensional panels that emphasied the folding of the structure. The individual panels spanned from either side of the users back, covering the area that was defined as being vulnerable to threats within the persons surroundings. The panels themselves are folded in a way that results in a central point that is raised, adding to the notion of defense even further.
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DESIGN
PROTOTYPING In order to address the functional nature of the design, physical prototypes proved the most help as we gained insight into the physical qualities of the structure under forces like that of compression and tension, an aspect which cannot be accurately examined through digital software. We experimented with a range of panel and fold techniques, as well as many fixing methods to create a sturdy, yet dynamic system.
DESIGN
FINAL PROTOTYPE For our final prototype, we introduced three vertical members as a means to add rigidity to the design and a fixing point for the panels to be attached. The panels were designed to raise up in a uniform manner, with the most protrusion occuring closer to the neck. Due to our prototypes being designed on a small scale, our design was limited as it was unable to express the the exaggeration of the users personal space through the protrusion of the panels. As identified by Scheurer & Stehling (2011), the issue of reduction within the design process hinders communication of the intended piece. We realised that our sketch ideas and 3D modelling done through digitised software was not being accurately communicated through prototypes, purely based on the issue of scale.
MODULE THREE
FABRICATION
Nicholas Dean (699066) Riley Woosnam (639454)
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FABRICATION
EXAGGERATION OF PERSONAL SPACE In order to move forward in the design process and further refine our design, we actually had to resort back to experimentation through sketch ideas as a means of adding complexity to our design. Feedback from M2 identified that our design was very site-specific, with the entire design revolving around the spine, therefore being quite restricted in terms of its visual effects.
Using precendent studies as an aid, we started to produce sketch ideas that illustrated a frame that sat on the shoulder for the panels to branch out from.
3-dimensional fashion by Richard Sun
Digitally fabricated t-shirt by The T-Shirt Issue
(Source: Pinterest)
(Source: Pinterest)
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Richard Sun’s wearable sculpture provided us with the necessary proportions for the frame structure that achieve an extended personal space, whilst The T-Shirt Issue’s design gave us insight into the way in which folded, 3-dimensional panels could gradually become larger in some section over the body, and smaller at others.
FABRICATION
FURTHER REFINEMENT SKETCHES Through sketches, we were able to visualise the path of the panels, and the way in which the shoulder frame would exaggerate the users personal space to increase the visual effects of the piece. In order for the panels to trace over the shoulder, two extra columns had to be added to either side of the central spine, an aspect which was immediately modelled in Rhino and fabricated using the Fab Lab in order to gain insight into the plausibility of the proposed design.
BACK ELEVATION
SIDE ELEVATION
BACK ELEVATION
SIDE ELEVATION 25
FABRICATION
RHINO MODEL REFINEMENT We immediately harnessed visualisation feature that is associated with 3D modelling in order to gain insight into the way the structure would sit on the body, and the necessary proportions that were required to allow the structure to eventually trace over the shoulders.
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FABRICATION
INITIAL PROTOTYPE
Prototyping soon became the primary source of information about how the design works. The physical qualities of the material that influenced the the requirement for the structure to bend to conform to the human body were all addressed through continual prototypes. Our initial prototype proved successful in that there was enough width on the centre spine for the outer columns of panels to extend over the shoulders without restricting head movement. In accordance to the benefits stated in Architecture in a Digital Age (2003), fabrication through the use of the laser cutter increased both the quality and time by which a prototype could be created.
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FABRICATION
RHINO MODEL REFINEMENT refinement in Rhino occured on a regular basis as we tweaked and fine-tuned our design to meet the needs of the brief, whilst also addressing the visual effects that this structure may have. A rough shoulder frame was modelled as a means to visualise the folding nature of the panels. The extension of ones personal space through the design proved effective, with the panels becoming elongated at the top of the arch and protruding out from the user. We wanted to achieve a sense of fluidity in terms of the flow of panels, whilst also retainging that dramatic visual effect of the protruding spikes.
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FABRICATION
EXPLORATION THROUGH PROTOTYPING Thoughout the course of Module 3, we fabricated a significant amount of prototypes that explored different materials, and subsequently, what effects these materials offered to the design. Therefore, prototyping became a means to examine the visual effects of a range of different materials. It was noted that the panels look most effective in black, as the ridges within the folds appear deeper and therefore more pronounced. For the support structure, we moved away from the boxboard as we did not want the element itself to draw the attention away from the panels, of which are the main aspect of the design. Therefore, we opted to use clear perspex which proved very effective in creating a refined, yet non-obstructive support frame.
Black Optix Card
Clear Polypropelene
Boxboard
Clear Perspex
PLAN VIEW
FRONT ELEVATION
RIGHT ELEVATION
BACK ELEVATION
FABRICATION
FABRICATION SEQUENCE
FABRICATION
EXPLODED ASSEMBLY DIAGRAM
FABRICATION
FINAL MODEL
FABRICATION
VISUAL EFFECTS THROUGH LIGHTING
MODULE FOUR REFLECTION
REFLECTION Digital Design and Fabrication has taught me about the importance of a continuous design process whereby each stage flows on from one another, with the ability to return back and modify your design based on new knowledge, research or design inspiration. This continuous cycle of design was addressed in Kolaveric’s Architecture in a Digital Age (2003), making specific reference to Frank Gehry with his view that digital software and mediums allow for a ‘translation’ from initial idea to a physical structure or final piece. Broken up into four unique modules, the design process progressed from initial analysis of an object to a dynamic and visually compelling design that addressed the notion of personal space. For me, the most useful tool throughout the course was digital modeling using Rhino, and its subsequent link to the Fab Lab whereby prototypes could be produced efficiently and to a high quality. I felt as though prototypes provided the most insight into how the structure would conform to the human body, and also the visual effects that it created through the exaggeration of the users personal space. Experimentation with 38
different materials, all of which had different characteristics and desigN qualities, was a continuous process that occurred throughout the length of the semester before being refined and finalised for our final model. It is evident now that the design process should always consider the final fabricated product, as many of my initial sketch and rhino models were not physically plausible. My design required materials to bend and fold and conform to the curvatures of the human body, in many cases, rigid materials like boxboard and thick card did not have the qualities to achieve such demands. The resolution of our final design generated a second skin model that accurately expanded the users personal space through dramatic elongated panels that somewhat wrap over the users shoulder, starting from their lower back to their chest. In line with our notion of vulnerability and our definition of personal space being the area in which our perception is hindered, the final design successfully creates a piece that visually would prevent any threats from the external environment from invading the persons personal space. The use of black polypropylene panels com-
bined withthe perspex shoulder frames establishes a refined design, one that harnesses the reflection of light and the subsequent casting of shadows. Walking away from this subject I can confidently say that I have developed a vast knowledge base in the areas of 3D modeling and the Fab Lab. Before this subject, I had never created such a complex structure using Rhino and I had never even known about the operations of the Fab Lab and what was possible in terms of the fabrication of various designs. I now have a greater understanding of the continuous nature of the design process and the way in which tools such as digital modelling and physically fabrication contribute to the process of communication of an individuals design (Rifken, 1969).
BIBLIOGRAPHY 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, 2000. Sommer, R. (1969). Personal space : the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J. : Prentice-Hall, c1969. Rifken, J. (2011). Personal Space: the behavioural basis of design/Robert Sommers. Englewood Cliffs, N. J.: Prentice-Hall, c1969 Scheurer, F. and Stehling, H. _2011_: Lost in Parameter Space IAD: Architectural Design, Wiley, 81 _4_, July, pp. 70-79 Kolaveric, B. (2003). Architecture in the Digital Age - Design and Manufacturing. Spon Press, London, c2003
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CREDITS Page Cover 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41
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Model Fabrication Model Assembly
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Graphic Design
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