Sleeping pod_DDF_Sem 1_2016

DIGITAL DESIGN & FABRICATION SM1, 2016 Z z z Anyw here Diana Ong (701832) Michelle James

CO NTE N TS

| M4 JOURNAL

0.0 INTRODUCTION........................................................................................................................................................................................................................ 07 1.0 IDEATION.................................................................................................................................................................................................................................. 08 1.1 Object 09-11 1.2 Object + System Analysis 12-13 1.3 Volume 14 1.4 Sketch design proposal 15-16 1.5 Reflection 17 2.0 DESIGN...................................................................................................................................................................................................................................... 18 2.1 Design introduction 19 2.2 Design development 20-23 2.3 Digitization + Design proposals v.1 24-25 2.4 Precedent research 26-27 2.5 Design proposal v.2 28-29 2.6 Final prototype + Testing Effects 30-34 2.7 Reflection 35 3.0 FABRICATION........................................................................................................................................................................................................................... 36 3.1 Fabrication intro 37 3.2 Design development 38-39 3.3 Fabrication of prototypes 40 3.4 Prototype development + optimisation 41-43 3.5 Final Digital model 44-45 3.6 Fabrication sequence 46-50 3.7 Assembly Drawing 51 3.8 Completed 2nd Skin 52-63 3.9 Reflection 64 4.0 REFLECTION..............................................................................................................................................................................................................................65-67 5.0 BIBLIOGRAPHY..........................................................................................................................................................................................................................68 5.1 APPENDIX............................................................................................................................................................................................................................69 5.2 CREDITS...............................................................................................................................................................................................................................70

0.0 INTRODU C TION “While sleep in the work place is seen as counterproductive, research has show that powernap can increase brain function and productivity at work. “ - Module 1 task , 2016 cited from BBC news, 2013 Personal space. Security. Comfort.

A volumetric response to the human body.

Spatial and emotional awareness.

A sleeping pod.

1.0

IDEATION

“Material: n, the matter from which a thing is or can be made.”

“System: n, a set of things working together as parts of a mechanism or an interconnecting network; a complex whole.”

-Lecture 2, 2016 MATERIAL: Folder SYSTEM: Panel & Fold

1.0 IDEATION

1.1

O BJEC T | m e as u r e d drawings

METHODOLOGY

However, the section was difficult to measure using the tape due to the soft and flexible nature of the thin sheets of plastic separators within the folder. Thus, I scanned copies of the sides and took a few photographs to to enable me to better observe and draw the sections with better precision. This shows the limitations of measured drawings which must be supported by photographs to express the “essential feeling� and nuances of the object (Heath et al., 2000).

240 mm

The folder was measured using two main techniques. The plan and exterior profile of the folder was measured with a measuring tape due to its simple, rectangular geometry.

Figure : example of scanned side of the folder.

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1.0 IDEATION

1.1

O BJ E C T | m e as u r e d d rawings

METHODOLOGY

100 mm

330 mm

PLAN scale 1:4

Note: This section shows the folder

being

opened

and

stretched to the maximum. The maximum angle is 50 degrees.

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SECTION scale 1:4

The folder was modelled in Rhino using mainly the curves and surfaces tool for the flat surfaces such as folder pockets. The “interpcurve”, “sweep” and “mirror” command for curved geometries such as the elastic band and button.

1.1

1.0 IDEATION

O BJEC T | d e t ails

Close-up on the folds of the compartments

FRONT ELEVATION

PERSPECTIVE VIEW

button

elastic band

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1.0 IDEATION

240 mm

1.2

O BJEC T + SYS T E M A N A LYS I S

ANALYSIS

ANALYSIS

Compartments in the folder are held together by an elastic band which creates an opposing force in relation to the front flap of the folder.

The band is secured around a fixed protruding button located at the middle of the folder.

This elevation (opened) depicts the accurate dimensions of the folder when left opened, with only gravitational force acting on it. The folds are in a “relaxed� state where there are no external forces acting on it.

button

elastic band Side elevation (closed) scale 1:2

35 mm

Side elevation (opened) scale 1:2

100 mm

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Elevation scale 1:2

1.0 IDEATION

1.2

O BJEC T + SYS T E M A N A LYS I S

The compartments in the folder are divided by one piece of plastic sheet folded 13 times. This is a panel and fold system.

By folding the sheets, space is created between the protruding and concaved angles.

This helps form the function of the folder to store objects.

SYSTEM LOGIC: When the plastic sheets are pressed together (folder is closed), the folding sheets increase in length but decrease in width. This occurs vice versa when the sheets are stretched.

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1.0 IDEATION

1.3

V O LU ME RECONFIGURED OBJECT I experimented with drawing out various templates on paper and folding them into shapes to create volumes. I found out that folded systems can form strong, self-withstanding structures with different forms according to the angle and length of folds.

I was intrigued by the ability of the folder to create space in between the folded pockets. Subsequently, I created a module that can be folded from two directions into a single plane, but it can also create an internal space in the middle when left opened, expanding the logic of the folds from one direction to two directions.

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1.0 IDEATION

1.4

S K ET C H D E SI G N PR O POS AL

In my first three sketch designs, I tried to incorporate the panel and fold system with the idea of personal space. I explored the various approach to personal space such as the protection of personal space, defining boundaries of personal space and perceptions towards personal space.

PROPOSAL #1 | AGGLOMERATION / PROTECTION/ PLASTICITY/ SHARP/ PORCUPINE

Small holes in between modules improve ventilation of the second-skin but also enables the user to have visual connections to the surroundings

My first sketch model focuses on PROTECTION and SECURITY. The composition of foldable modules creates small volumes and is versatile in movement to maximize users’ comfort. It is wearable on the human body and acts like a second skin to protect the user while sleeping. The main feature are the sharp points protruding into the surrounding environment protects the user and to show the public the boundaries of personal space that should not be “The violation of individual distance is the violation of society’s expectations; the invasion of personal space is an intrusion of a person’s self boundaries” - Sommer, 1969

PROPOSAL #2 | SMOOTH/ FOLDED/

SIMPLE/ COCOON/ SAFE HAVEN

This cocoon-inspired pod focuses on making the “invisible boundaries” of personal space “visible” to the public.

It aims to create a large personal space at the parts of the body where most privacy is needed. This design is shaped according to the human body - forming a nut shaped cocoon which sets out the boundaries of personal space. It isa also inspired by the folding mechanism of the folder which could create space. Following this idea, I enlarged the space inside the folds and increased the number of folds so that the mechanism would finish at a full sphereat 360 degrees. With this pod, the user can fully disconnect with the outside world and enjoy their own space and in the pod.

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1.0 IDEATION

PROPOSAL #3| CAMOUFLAGE/ LAYERED/ NATURE/ INTIMATE/ FREE-FLOW As Robert Sommer quotes in the reading - “ a nonperson cannot invade someone else’s personal space...”. Thus, this design plays with the idea of PERCEPTION and aims to let the users camouflage into the surroundings and to become a “nonperson” while sleeping. Similarly, the user, without personal space, does not feel disturbed by others as the users feel that the others does not “perceive” them as “persons”.

Thus, this design aims to camouflage the user in university grounds and explore the uncomfortable threshold of personal space by minimising the space to only layers of folds. This allows the user to have a new experience of sleeping within the condition of the environment instead of keeping the user completely isolated from the environment.

This design was inspired by the vast amounts of greenery on campus which are often overlooked. Thus, this design aims to camouflage the user into the campus grounds through overlapping layers of folded panels which forms the leaves.

Overlapping concept is also adopted from the compartments in the folder which overlap each other in a repititive way.

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“A nonperson cannot invade someone’s personal space any more than a tree or chair can. ” - Sommer, 1969

1.0 IDEATION

1.5 M1 R EFLECTI ON My object - the folder, is a seemingly mundane everyday object, but I realised the complexity in its system, complemented by its clever use of different materials, after completing M1. While measuring the folder, I used a variety of measuring techniques, which according to Heath et al. (2000), can help achieve a higher level of accuracy in terms of communicating its overall form. As a result, the measuring exercise in M1 prompted me to look into the object’s material and structure in further detail, allowing me to discover and fully understand the logic of the folding system of the folder. This shows that measured drawings do not only teach drawing techniques and control, but it also explains “the full meaning of the designer’s principal working media” (Heath et al.,2000).

With a thorough understanding of the folder and its panel and fold system, I was able to create a reconfigured object that extends the folding logic by added a new direction of folds. I was then able to apply this logic to the sketch designs where I started to experiment with the application of folds in terms of the main themes regarding security, protection and comfort. In essence, M1 gave me a great headstart in determining the scope of my design within the project brief.

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2.0

DESIGN

TEAM MEMBERS : Diana, Malak, Emily

2.1

DE SI G N | I NT R O DUCTI ON Ideas from sketch designs in Module 1 was carried forward to Module 2 where we were organized into groups according to our material systempanel and fold. This step significantly increased the design possibilities of the sleeping pod and widened scope scope of design. This is because sketch ideas and reconfigured models of each group member were taken into consideration. Here, I realised that much better designs can be achieved with the integration of different perspectives and the collaboration of ideas between different individuals.

After much discussion, we managed to determine the direction of our design around the key words below: Protection; Privacy; Cocoon; Folded; Dual program; Versatile; Portable

2.0 DESIGN

2.2.1

DE S I G N D E V E L O PM ENT | FR OM M 1

Although we synthesised ideas from all members, we wanted to focus on developing Malak’s sketch idea which embodied two main focus: 1) PORTABILITY. The sleeping pod is foldable and thus its overall volume can be reduced to enable it to be stored and carried around easily. This also creates the notion of a “portable territory” where personal space can be secured at all times (Lecture 2, 2016).

2)

FUNCTION. The pod has a dual program where it can be used by the user on a chair alone, or at a desk/ flat surfaces.

Figure 1: Initial sketch design outlining the versatility of the sleeping pod.

In terms of the users’ experience, our overall aim was to create a “cocoon” which PROTECTS the user while giving the user a sense of SECURITY and COMFORT. This is achieved by: 1)

PROTECTION: Rigid outer shell which outlines and protects the personal space of the user which cannot and should not be penetrated/ disturbed by outsiders.

2) COMFORT: An enclosed volume to minimize disturbance, to meet the needs of privacy, and to create a dark and quiet

surrounding for optimal sleep.

3)

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SECURITY: Sharp outer appearance which communicates the need for aloneness and privacy.

2.0 DESIGN

2.2.2

D E S I GN DEV ELOPM ENT| PATTER NATI ON As a group, we decided to base our design on folding patterns. Thus, we experimented with numerous folding techniques and referred to origamis for further inspiration.

The first prototype shows our experimentation with composing two different patterns together to look at the effects and overall shape formed. It is formed by joining two pieces of folded material of the same pattern at different scales. However, towards the end we realised that this idea would not work due to limitations of material size and the difficulty of folding several layers of material due to material rigidness and strength.

After many trails and experiments, we finally came up with a combination of patterns which we where pleased with. From these determined patterns, we analysed ways to connect the patterns together on one piece of material.

With regards to effects mentioned by Paul in Lecture 4 (2016), our folding pattern managed to achieve a “multiple effect” as a whole that could potentially “challenge the coventions of space” among users and people in their surroundings.

Nonetheless, we still had to explore ways to extend these effects into the interior of the pod.

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2.0 DESIGN

2.2.2

D E S I G N D E V E L O PM ENT| PATTER NATI ON

First prototype and the manipulation of scale.

This pattern’s opening mechanism allows coverage over small surfaces. These surfaces can then be perforated, creating a controlled experience with the exterior. This prevents too much light from entering while still allowing ventilation.

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2.0 DESIGN

2.2.3

D ES I G N D E V E L O PMENT| PER S ONAL S PACE “Personal space refers to an area with invisible boundaries surrounding a person’s body into which intruders may not come” - Sommers, 1969.

Personal space plays a key role in determining the overall shape and size of the sleeping pod. Thus, we decided to document an individual’s personal space to have an overall idea of shape taken by the sleeping pod while it is in use. Although we acknowledge the fact that sleeping positions vary according to individuals, we aim for the pod to cater the three most common sleeping positions seen in public - sleeping sitting on a chair, lying on the desk and on the floor against a wall.

Criterion 2: “The sleeping pod must address the question of personal space; sense of comfort and security” (Lecture 5, 2016).

We realised that personal space is not necessarily a certain shape nor extends in all directions as mentioned by Sommers (1969). Nonetheless, for the three positions that we focused on, the personal space is mostly accumulated at the upper body of the users. This discovery and further analysis our documentation was extremely helpful in informing us of the form and shape of our final design.

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2.0 DESIGN

2. 3

D IG I T I Z AT I O N + D E S I GN PR OPOS ALS v . 1

Although our project was mainly based on manual folding and the physical experimentation of patterns, we utilised digital modelling to determine the overall form and shape of our design. Rhino also enabled us to determine the scale scale of the design and its relationship to the human body.

PROPOSAL #1 | DUAL FUNCTION / PORTABLE/ RIGID BACK PART Our first proposal revolved around the use of a foldable front “cover” secured to a rigid MDF back part which will be attached to a chair.

We liked this idea as it covers the upper body fully, allowing full privacy as well as creating a soundproof and dark interior for the user to sleep in optimum sleeping conditions. This served as a good starting point as a surface for patterns to be explored upon.

PLAN

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SKETCHES

PLAN

PERSPECTIVE

ELEVATION

2.0 DESIGN

PROPOSAL #2 | PATTERNATION/ LAYERINGS/ RIGID BACK PART

PROPOSAL #4 | SPATIOUS / PERSONAL SPACE/ COMFORT

In attempt to develop the first outline of the pod, we explored the use of symmetrical folds which resulted in a “feather-like” design. However, upon further exploration, limitations were posed by the multiple layers of folds which would would make the structure heavy and more expensive, while increasing pressure and the temperature in the interior. We also felt that the design was also not spatious enough for the comfort of users.

PROPOSAL #3| PANELLING/

From Proposal #3, we looked further into the comfort of the user and explored the possibility of a large inner space for good ventilation and a complete possession of one’s personal space.

We also created a small hand rest at the front for the comfort of the user.

Nonetheless, this design cannot be used at the desk.

PERSONAL SPACE/ MODULARITY

To improve the spatial quality of the pod, we experimented with creating a form according to our analysis of humans’ personal space. We omitted the back part and focused on the overall shape and boundary of personal space. We started to explore panelling tools with Rhino by creating various unique modules and paneling them on the surface of the overall form. We found it much more effective and less time-consuming to experiment with the combination of folding patterns the overall form in Rhino. We liked this outcome which outlines the personal space of the user. However, we had to figure out its mechanism and ways to fabricate it so it would fold into a thin piece.

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2.0 DESIGN

2

3

1

4

5

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2.0 DESIGN

2.4

P RECE D E NT R E SE AR C H & DEV ELOPM ENT Modules with cut-out cubes in the middle part

USAFA Cadet Chapel (Figure 1,2,3)

By Walter Netsch of Skidmore, Owings, & Merrill The chapel’s overall form consists of a repetitive pattern with protruding edges much like the folds we experimented in the start. It protrays the notion of protection and security with sharp protruding exterior, juxtaposed with the emotional effect created by the interplay of light and shadow in the interior. Thus, this precedent is crucial as it embodies all important characteristics of our design - protection, security and comfort.

From this design, we extracted the use of constrast between the darkness and light by adding in the use of perforations to create a similar dramatic effect of light and shadow of the folds from the interior. We also considered having lights outside the sleeping pod act as warning signals to the public regarding the presence of the user. This is supported by sharp edges on the exterior which acts as a defensive layer, both physically & emotionally.

Fairy lights can be inserted in the intersection of two folds to direct light to a certain direction.

The combination of various lights placed at different folds would create an effect on the exterior where lights are projected out to many directions, acting as a warning to people in the surrounding not to tresspass the user’s personal space while he/she is sleeping.

Puppet Theatre (Figure 4,5)

By Huyghe + Le Corbusier The theatre’s design uses a series of interlocking triangles made from different materials such as a glass like fabric on the exterior and a highly reflective and mirrored plastic on the interior. This serves to give visitors diverse experiences as they move from outside to inside the building. The exterior also appears to be a part of the wider environment (as it blends into the roots of the trees surrounding it) while the interior serves to make the user look inwards upon themselves with the use of the reflective surfaces. The contrast between the experiences in the interior with exterior is also what we wanted to explore in our design.

We considered using reflective material for the exterior of the sleeping pod.

However, we found that this might be unnecessary if we decided to use the lights. Nonetheless, we adopted the idea of comfort, privacy and darkness in the interior in contrast with brightness and communication at the exterior.

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2.0 DESIGN

2.5

P RO P O SAL v .2 | PR O TOTYPE + TES TI NG EFFECTS

To develop our project further, we experimented and tested ideas with actual physcial prototypes. Although this process was time consuming, it was more efficient as the outcomes of folded structures are better analysed through tangible models. The model above was constructed by using only one piece of material. We liked this prototype the best as it exhibits the strength of the folding mechanism as a “cocoon� for protection, and it is also versatile in terms of volume and shape due to its ability to fold into thin piece. At this stage, we considered material size being a possible limitation when fabricating it at human scale.

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2.0 DESIGN

Criteria 1: “Volume; project must address the 3-dimensionality and volumetric nature of the body� (Lecture 5, 2016).

We then tested the pod on the human scale in order to analyse its 3-dimensionality in relation to the human body (Lecture 5, 2016). From this, we realised that the width of the design might be too big and space consuming. Nonetheless, changing the design’s outline and shape was easily done since the material and patterns were thoroughly tested, enabling the structure to be manipulated easily by simply changing specific angles. However, the side elevation shows that the headrest (initially used as backpart) touches the body due to its length. This was aproached by making this piece also foldable into the pod, allowing the user to control the length of the headrest or close it completely.

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2.0 DESIGN

2.6

FINAL D E SI GN PR OPOS AL After thorough research and physical experimentation, we decided to make a digital model incorporating all of our ideas. A combination of the previous attempts was made, taking all previous notes into consideration.

The design combines the versatility of the 1st proposed design with the security of the final proposal, creating a longer, narrower structure that covers the hips of the user, yet allows enough space for comfort and movement of hands.

The back part of the pod is made of the same pattern, which makes it resizable as well as a coherent whole. It is secured to a frame which could be added for rigidity.

The folding logic in the backpart also adds to the portability and versatility of the pod.

In essence, the overall structure of this design allows it to be use alongside everyday furniture, which makes the pod more convenient and practical. For instance, while using the pod with a chair, the chair can be bent backwards for more comfort while the pod just follows suit. I realise that these small modifications are essential for users to optimize their experience to meet individual needs, which is the main contributor to the users’ satisfication and comfort (Shin, 2015).

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PLAN

2.0 DESIGN

FRONT

BACK

SIDE

WITH FURNITURE

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2.0 DESIGN

2.5.1

F I NAL PR OTOTYPE

We decided to make a small scale prototype of the overall structure as the folding mechanism and joinery is only clear when the full structure is formed. Moreover, with a full prototype in hand, we were able to explore the different lighting effects that could be created with the fairy lights at the exterior of the envelope.

Different materials were experimented but the most material suitable was the initial choice: 80 gsm Kraft paper. It is recycled packaging paper, relatively coarse and strong, yet flexible. These properties suits our folding structure which has layers and perferations as it is a flexible yet rigid material. Its neutral color is also preferable for an exterior that blends well with surroundings.

For the interior, we took photographs and utilised the digital software-Photoshop, to communicate the atmosphere we want to achieve from the interior. Although total darkness is optimum condition for sleep, perferations could allow some light in to subtlely show the complexity of the folds.

At this stage, we were confident that our folding mechanism would work and the pattern that we wanted could be achieved by hand-making. Nonetheless, concerns arose regarding the rigidness of the overall structure and how different Kraft papers and panels could be secured together at the 1:1 scale.

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2.0 DESIGN

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2.0 DESIGN

2.5.2

Variation 1

T E S T I NG E F F E C T S

Variation 2

Variation 3

Criterion 3: “The design must create a spatial or emotional effect so as to communicate to others that you need security and comfort�

(Lecture 5, 2016).

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2.0 DESIGN

2.6 M2

R E F L E C TI ON

“A perfect model does not contain as much information as possible, but as little as necessary to describe the properties of an object unambiguously. “ - Scheurer and Stehling, 2011 In M2, we started to visualise and test our design ideas by building physical prototypes and Rhino models.

There was a continuation of ideas from M1 as we developed patterns from the folding mechanism of the folder before moving on to the overall form of the pod which we modelled in Rhino. I found the digital models extremely helpful to describe the overall form of the design as it is an easy and fast method to test design decisions, saves material and time, and enabled us to examine the design in relation to the human body.

Nonetheless, we only built essential aspects of that particular design rather than the whole model in detail . This helps the design to achieve a level of abstraction which can convey our ideas most clearly, thus producing “meaningful results”(Scheurer & Stehling, 2011).

We also started to explore the effects we wanted to convey through our pod to address the notions of security, protection, privacy and comfort. We realised that we could play with light in the interior of the pod which was completely dark to create a relaxed and soothing ambience within. Light was also adopted at the exterior of the pod to act as a form to communication to the public as the users are never in isolation, but always within a context of their surroundings (Shin, 2015).

The reading entitled “Surfaces made from paper” (Pottmann et al., 2007) was helpful in terms of outlining the ways to understand our 3D proposals and prototypes in 2D forms. Although our design did not have curved surfaces, the front section of the final prototype can be seen as a “ruled surface”, developable from the pattern of folds, which is accumulated to form a slight curve as a whole. This perspective was subsequently brought into M3 where it gave us the idea to “flatten” our modules and patternation of folds into a 2D template, helping us increase efficiency and save time in the process of fabrication in M3.

In essence, M2 enabled us to determine the direction of our design through various experimentations and modelling techniques. We succeeded at forming the final design by addressing all criterias of the brief. This made me realise the importance of limitations and scope in the field of design in order to produce an outcome which is both practical, functional and aesthetically pleasing in its context.

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3.0

FABRICATION

TEAM MEMBERS : Diana, Malak, Emily

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3. 1

FA B RIC A T I O N | I N T R O DUCTI ON “Making is the most powerful way we can solve problems, express ideas and shape our world” - Charny, 2011 In M3, we brought the finalised M2 design into further scrutinization to further enhance its function and effects before fabricating the final pod.

We had to make improvisations and changes to the final pod throughout the fabrication process, signifying the never-ending process of designing.

Although the fabrication process revealed many unforseen problems, it exposed to us a wide range of design possibilities that we would not have known or discovered in M2. This clearly illustrates the “power of making” as mentioned by Paul in Lecture 7 (2016), where it is the problem-solving in the process of making which ultimately pushes the designer to discover new ways of improving the design as a whole.

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3.0 FABRICATION

3.2 D ES IG N

D E V E L O PME N T

CRITICISM #1 | OVERALL FORM The overall form of the final design had taken the shape of a box, thus lacking design creativity and complexity. This was mainly due to our focus the functionality of the folding mechanism of the pod rather than the design as a whole.

We tackled this problem by altering the folds slightly to get a sharper angle at the top. This produces a diamond shape which responds even better to the user’s personal space. The whole mechanism would still as the folding directions remain the same.

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CRITICISM #2 | EFFECTS The emotional effect we wanted to create within and outside the pod with the interplay of light needs to be emphasised.

We decided that for the exterior, lights would be used in between sharp folds as in the referenced chapel, creating a subtle yet clear message to the surrounding environment regarding the presence of the sleeper. We would contrast this with the interior of the pod which is dark, but dimly lit with perforations of light - creating a night sky scene for the user to sleep under. In determining the positions for perforations, we considered adopting star constellations as a “rule” in achieving this sleeping ambience within the pod.

3

3.0 FABRICATION

CRITICISM #3 | RIGID BACKPART The backpart which was initially used to secure the front folds in place did not seem to be unified with the overall design. Nonetheless, we could not eliminate it altogether as the pod would fall over without a support.

Idea 1 : Our first idea was to have the folds slowly diminishing into a tapered back part. This could potentially support whole structure by creating a balance between the forces of the front folds and back folds while continuing the logic of folds.

However, we did not chose to proceed with this idea as it was extremely hard to fabricate the smaller folds that were supposed to diminish in width towards the end. Furthermore, it is hard to secure the whole structure in place without a contact point between the user and the overall structure.

Idea 2 (applied in final design) We continued the folds from the sides, and curved them into a half sphere shape by joining the two sides around the back. This is done by manipulating the center folds and distorting its original shape without ruining the nature of the folds.

Instead of adding distinct elements, pre-existing elements are altered to solve this problem. With this, a unified design is obtained to function as one whole element.

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3.0 FABRICATION

3.3

P RO T O T YPE D E V E L O PM ENT + FABR I CATI ON Throughout the designing process, we developed a series of prototypes to test the shape of the overall pod, the mechanisms at the joints and also the connections areas between different panels of folds. We went through all three processes of technique, technology and workmanship (Lecture week 7, 2016).

Prototype #1: This is the first prototype we made according to the basic folding pattern and the overall shape we achieved on Rhino (technology). We decided to use the whole width and length of the material although the two ends will have remaining material of unequal length.

Prototype #2: With this prototype we experimented with the type of fold needed to form the desirable angle at the top of our sleeping pod (technique). We wanted it to have a curved shape but not a 90 degree angle.

It was very challenging as the difference of a few millimeters in the folds can produce very different angles and, ultimately, alter the overall form.

Prototype #3:

1

2

3

4

We decided to use a 25-degree angle at the top of the pod to form an overeall diamond shape of the pod. Subsequently, we experimented with the joints which will connect all panels at the bottom - by using rivets and metal plates.

Prototype #4: Final prototype (workmanship).

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3.0 FABRICATION

3.4.1 P RO T O T YPE

O PT I MI SATI ON | quant it at ive + qualit at ive data

In order to figure out the angle of folds we wanted at the top of the pod, we had to experiment with two panels and go through tons of trail and errors. We realised that the nature of the material could be a potential limiting factor to this angle.

This is because the thickness of the kraft paper did not allow the composition to fold at the corners and near the edges, resulting in tears and crinkled surfaces.

Thus, we went for a bigger angle at 25 degrees. This would release the tension at the folds and allow the material to fold naturally after we scored them.

We used this 1:1 prototype to collect quantitative data - the number of light bulbs needed, the amount of panels needed, thus number of kraft paper needed. This also helped estimate the amount of rivets and metal plates needed.

Pattern 1 panels - 6 panels needed for front and side part - 3 panels needed for back part Pattern 2 panels - 2 panels needed for front and side part - 1 panel needed for back part

Front & side part - 30 folds

Pattern 1 Pattern 2 Back part - 7 folds

25 degree angle when measured as above.

Effects: For the fairy lights, we used LED lights which comes with a battery pack. We calculated that we needed more than 20 lights so we bought a pack of 40 lights for the final project. It has its limitations in terms of the battery pack. We decided to hide it in one of the folds so it would not be too clearly visible.

We were happy with the results and proceeded to connecting the elements.

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3.0 FABRICATION

3.4.2

P RO T O T YPE O PT I MI S ATI ON | mat erial usage

The final material we chose for the panel and fold element of the design was Kraft paper. This was both strong and could be manipulated and folded with scoring. Each piece of the design is made of a sheet (736 x 1138) which was the biggest the material came in. It is recycled packaging paper, relatively coarse and strong, yet flexible.

This material had proven to be efficient in previous modules and upon comparison with a several other materials.It could be manipulated and folded with scoring, while maintaining its rigidity after being folded to support weight.

1) Pieces match but cannot join.

2) Pieces can overlap but makes joints thick.

1

3

Figure 2: A single panel consisting of 14 folds. The tabs can be seen at the sides and are highlighted in yellow.

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3) Final solution: Tabs to attach pieces.

2

4

Figure 3: A single panel consisting of 14 folds. The tabs can be seen at the sides and are highlighted in yellow.

Nevertheless, the material restricted our design in terms of its pre-determined size and thus we needed to join several pieces of folded panels together. This led us to create a tab system allowed us to join the pieces easily without creating too much of a thickness. We were able to reduce waste and optimize the entire piece of material as offcuts from the measurements of folds were used as tabs (Figure 2).

However, when putting this into practice, the tabs could be seen by the user inside the sleeping pod. To adjust this, we cut and glued the tabs in the places where they were obvious which created a more seamless design (Figure 3).

3.0 FABRICATION

3.4.3

P RO T O T YPE O PT I MI S ATI ON | fabric at ion

Following the use of Rhino software, we used a “downstream approach” to translate our 3D models into 2-D templates for our own use for the final project fabrication. According to Iwamoto (2009), folding is a “craft-based” practice which expands the three-dimensional vocabulary of a surface by producing deformation and inflection naturally from a 2D surface. For instance, through some research, we found an example in Morninton Peninsula- the Klein Bottle house by McBride Charles Ryan, in which the house has an outer cement clad surface distorted and developed using technology (mainly CAD) which help to translate a 3D volumes into developable 2D surfaces for easier construction (Macbride Charles Ryan, 2008).

Thus, we created a template which forms the basic formulae or rule-set that underlies our design.

We realised that the final fabrication could be achieved by hand as we already worked out its ruleset and folding techniques. By using this template for fabrication, we can ensure the accuracy and standardization of the patterns at different panels. The templates below are drawn and dimensioned in Rhino according to the size of our base material - 736 x 1138 Kraft paper.

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The “upstream and downstream” processes of digital design, where threedimensional models can be converted to two and vice versa, hightlighting the huge amount of flexibility design once aided by digital tools.

Pattern template:

Red - Etched on the top surface Blue on the surface

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Etched bottom

Grey - Grid lines (not shown on final design)

Image 6: The use of digital modelling to panel the folded surfaces and to help architectects figure out the design, position and angle of the folded cement surfaces.

Pattern #1

Pattern #2

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3.5

FI NAL DIGITAL MODEL

After finalising our ideas, we translated them into a 3-dimensional form in Rhino to test its relationship with the user. We were really satisfied with the outcome and proceeded with fabrication.

Digital tools have become a medium between traditional practice in craft and the actual scaled work where building materials are folded into place. In this project, other than making smaller scale paper models, digital tools have aided the designing process by the manipulation of volumes and surfaces such as “folded plates” and “wrapped volumes” mentioned

by Iwamoto (2009) in the readings. It saves time with minor alterations, where the outcome would be seen digitally instead of trying a whole new prototype which is time-consuming.

Through the combined use of digital design and manual fabrication, a certain uniqueness and distinctiveness is preserved in the product. As mentioned in “The Power of Making”, workmanship is applied with much care and dexterity, utilising different techniques and resulting in very efficient products.

By joining digital design with manual fabrication, we obtain a more effcient combination, as argued by David Pye (1968) and mentioned in the lectures.

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3.6.1

FI NAL PR O T O T YPE F ABR I CATI ON | sequenc e

fabric at ing pat t ern 1 46

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fabric at ing pat t ern 2 47

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3.6.2

F INAL PR O T O T YPE F ABR I CATI ON | c omponent s & j o i n ts From the 1:5 scale prototype, we decided instead of gluing the folds together, we would use a rivet in both side of the sleeping pod as a pin joint. We tested this on a new prototype, placing washers to prevent the paper from tearing. However, this method raised a problem where the paper would only open so much before it started to fold and tear above the pin joint.

Therefore, we decided to use a hinge which would attach to a hidden frame in the design and allow the sleeping pod to open freely without damaging the fragile paper material.

While the sleeping pod prototype appeared to be functional, the paper was not rigid enough for the folding mechanism to work. The user would be afraid of tearing or unfolding the paper when opening or closing the sleeping pod. Therefore, we decided to insert a metal within the design to increase its rigidity. We chose to use metal brackets as they were thin and could be cut easily. These pieces could also be concealed within the sleeping pod.

We taped and glued the metal frame inside the folds at each side of the front part, and riveted it together with a hinge in order to give the hinge a strong material to attach to. The frame is also added at the back of the design where the folds join in the middle of the design.

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3.6.3

FI NAL PR O T O T YPE F ABR I CATI ON | finishing t ouc hes

2

1 1

1

2

1) LED lights are inserted in between the folds of the square pattern. This helps achieve the wanted effect, where the light source is hidden but only its illumination appears fading over the narrow sharp folds. “Stars� were also formed by perforating the material from the exterior, creating a night sky scene effect.

2) The final structure was heavier than expected due to the addition of metal frames. As we faced difficulty stability issues with the pod, we decided to add an extra metal across the pod for the user to sit on, and thus secure the pod in place. Moreover, we decided to secure the folds at the back part together using press studs, but they were not strong enough so we added an extra element-Twine (brown strings) to tie the folds together. This material was selected due to its similar colour and properties to the kraft paper, and its strength.

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3.6.4

F INAL PR O T O T YPE F ABR I CATI ON | assembly + fold ing l o gi c

The back part is connected to the front and side parts in a way that the logic of the folds are uninterrupted. This makes the exterior of the pod appear to be a coherent whole.

Flow of logic

Flow of logic

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3.7

A S S EMB L Y D R A W I N G

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3.8

F I NAL C O MPL E TED S LEEPI NG POD

v e r s atilit y p o r t ab ility p r o t e c tio n s e c u r ity comfort s le e p

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SLEEP I N G PO D | v e r s atilit y The sleeping pod forms a cocoon that protects the user’s personal space during sleep. It can be utilised in many sleeping positions and with different furniture. The front flap can be folded up and modified to suit the user’s needs, ensuring maximum comfort and satisfaction. It caters to a large audience as different individuals have different preferences when it comes to sleeping. Inside, the juxtaposition of dim lights from perforations and the concealed darkness create a magical night sky scene for the user to sleep comfortably in. In terms of practicality, it can be folded up into a thin plane, easily stored and carried around.

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SLE EP I N G PO D | f lo o r u s e

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3.0 FABRICATION

SL EEPING POD | desk u se

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SLE EP I N G PO D | e f f e c ts in t he d ark

In darker rooms such as a lecture hall, the user will need an exterior that alerts nearby people of their presence in order to avoid collision or interruption of sleep.

The light effect creates a subtle yet clear alerting message, with its sharp edges and gloomy cocoon-like appearance which repels people away.

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SLEEP I N G PO D | f o r m o f communic at ion

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SLEEP I N G PO D | in t e r io r

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SLE EP IN G PO D | in te r io r d e t ails: c onst ellat ions Different constellations are intuitively perforated into the sleeping pod, creating a night sky scene where the user would find constellations and wonder about them as they go to sleep.

It is a peaceful and soothing process that takes the mind off of work’s stress and into a relaxing nap, after which one becomes more energized, mindful and refreshed.

1. Chamaeleon

2. Columba

3. Centaurus (Equuleus)

5. Lyra

The chameleon has no story associated with it, but the reptile it is named after is one that is able to hide in plain site. Hence, it emphasises the fact that the user of the sleeping pod is hidden from the outside world, making a more comfortable, camouflaged atmosphere for sleep.

4. Scutum

Literally ‘the shield’ in Latin, Scutum represents the shield of Sobieski which was used by the conquering King Jan III Sobieski who won the battle in Vienna in 1683. The shield is a protector and is in line with protecting the user and their personal space from predators with the sleeping pod.

The constellation Centaurus represents Chiron, the wise and intelligent centaur who aided many heroes on their quests. He epitomises wisdom which will ensure the user of the sleeping pod becomes wise and productive after use.

The dove Columbus is the one whom Noah sent from his arch to find out if there was any dry land left after the great floods. The dove returned with an olive branch, signifying hope and survival. It then led Noah on a journey to this dry land. Therefore, the user shall be lead on a journey to the solution to the problems they are trying to solve at work.

Named for the beautiful instrument, the lyre, which was used to put creatures to sleep so it’s musician, Orpheus, could aid heroes in getting past them. The music is so beautiful it is said to even charm rocks and so it would be impossible to stay awake in the sleeping pod under the spell of the Lyra.

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SLE EP I N G PO D | e x te r io r d e t ail

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SLE EP I N G PO D | p o r t ab ility & st orage The sleeping pod can be folded to a thinner plane, achieving a crucial element we set out in the initial brief. This means the pod can be used in a variety of spaces and environments and can be transported easily. In terms of its placement in the university, it can fit neatly behind desks or shelves and can be opened when needed.

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3.9 M3

R E F L E CTI ON

In M3, we got the chance to physically fabricate our design which was a very exciting and fulfilling process.

Nonetheless, we encountered many problems in the process of making which was not revealed in the process of designing. This portrays the “uncertainty in making” which stems from many factors such as technique, technology and workmanship (Lecture 7, 2016). In solving these unforseen issues, we were actually “experimenting and thinking by making” - a crucial design process which is recently emerging in design education (Charny, 2012).

Through the readings, I realised that making in the 21st century is different to traditional crafts as mentioned in the reading, as it is combined with the use of digital technology. This is clearly illustrated in our fabrication process where we used a combination of digital tools and manual labour to construct our sleeping pod. We realised that this synthesis of different mediums helped us to preserve not only the accuracy of our design, but also its uniqueness and distinctiveness. Our process went from physical to digital, and back to physical.

As explained by Kolarevic (2003), the physical to digital step could be aided by new technology such as 3-dimensional scanning while the digital to physical process could be aided by fabrication equipments such as the CNC router. In our case, we experimented with manually folded prototypes to the mechanism and its effects on different materials, which involves material tactility, and thus cannot be achieved through digital means. Once the material, general pattern and movement were determined, digital design was introduced to observe the structure at a 1:1 scale and to try different variations without the need to create full-scale attempts, given the restricted time, labour and material. In essence, the synthesis of digital design with manual fabrication regulated workmanship in the fabrication process. We were able to ensure dexterity and accuracy in our design to make sure that the overall product corresponds to our core ideas (Pye, 1968).

The video session was also a very eye-opening experience for me as I got to witness the set of professional photography and how photographers document their work. I realise that angles, lighting, good equipment and the intended message of the photographs, are essential to good photography.

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4.0

REFLECTION

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4.0 REFLECTION

4.0

R E F L E C TI ON

This subject exposed to me the complete design process which not only included the creative search and representation of ideas, but also the realisation of these ideas into tangible, human-scale forms. While the final product embodied core ideas from M1 and M2, there are various details and elements added in M3 which differentiated the final design from the initial design on paper and screens. This proved to me that “making” itself is part of the active design process, which according to Charny (2011), embodies social, economical and cultural values in the current society which can help shape the future.

In the context of making, I found the last reading by Marble (2008) particularly interesting as he discusses the role of design risk in mediating humans and technology. In the case of our project, I believe that we have included the “workmanship of risk” by fabricating our sleeping pod by hand rather than using the laser cutter or CNC router (Pye, 1968). By folding each panel by hand and attaching them together, I felt that we were reconnected to craft whereby a relationship was created between us, as “craftsmen”, and the materials at hand. Although the quality of the pod was “continually at risk” during fabrication, the result could have been perceived as serving a “broader cultural purpose” in preserving diversity and variation (Pye, 1968). In this case, Marble (2008) states that design risk in the 21st century have shifted from hand to the mind with the increased use of computation and digital software. Nonetheless, I felt that our mixed use of physical and digital experimentations brought risks from both contexts into our design process, which not only created uniqueness in the final design, but also cultivated a sense of ownership in us towards the sleeping pod upon its completion.

Although we did not utilise digital technology for fabrication, we relied on digital means such as Rhino to help us ensure the accuracy and refinement of the final product before fabrication. Going through the readings, I was amazed by the widespread use of digital technology in design and the great amount of detail that could be achieved by digital equipment and software. Rifkin (2011) further adds another dimension to this discussion by highlighting the notion of “distributed capitalism” in the “third industrial revolution”. This revolution is mainly fuelled by technological advancement such as 3D printing, which allows individuals to become their own manufacturers. This changes the hierarchy and dynamics of industrial production from centralised business models to more collaborative and distributed models, thus highlighting the importance of digital technology in the field of design. Thus, I am grateful that I have managed to pick up digital software skills in this course such as Rhino, Adobe Indesign and Illustrator, which would surely come in handy in future design projects.

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4.0 REFLECTION

Throughout the course, I have learnt that the designing is a non-linear process which embodies a high degree of complexity. It involves upstream and downstream processes, the integrated use of physical and digital mediums as well as the collaboration of ideas between individuals. The context of my project further increased my awareness and appreciation towards craftsmanship which I came to realise, requires a large amount of care and dexterity. Often being careless with details and precision, I found the fabrication process extremely challenging as the scoring had to be exact in order for the final folds to match. Going this meticulous process, I have learnt that the art of folding is not an easy skill which takes time and tons of practice to master. Nevertheless, I achieved great satisfaction upon seeing the final product in use.

Towards the end of the project, we realised that the Kraft paper was not as durable due to its softness and material composition of recycled paper. Thus, if I was given a chance to remake our sleeping pod, I would try to fabricate the pod with a different material and utilize the laser cutting machine to etch lines where the folds would be positioned. This would increase the durability of the final design and its design precision while saveingtime and manual labour, although it will increase the total cost of the project.

Nonetheless, I am glad that I had the opportunity to personally hand craft a whole design by hand alongside my cooperative team members, a true achievement I never would have thought I could attain before. Many thanks to Michelle for constant guidance throughout the semester, and Paul for introducing new perspectives into the field of design and fabrication. I am most grateful for the creative and collaborative nature of this course structure, as it gave the opportunity to project my design ideas, and later translate them as a team, into an elegant yet practical product which I am proud of. I now know my capability, and the lengths I could explore, as a designer.

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5. 0

BIB LIO G R APHY Readings: M1 Heath, A, Heath, D & Jensen, A 2000, 300 years of industrial design : function, form, technique, 1700-2000, Watson-Guptill, New York.

Sommer, R 1969, ‘ Spatial invasion’ in Sommer, R, Personal space : the behavioral basis of design, Prentice-Hall, Englewood Cliffs, N.J, pp. 26-38.

M2 Pottmann, H, Asperl, A, Hofer, M & Kilian, A (eds) 2007, ‘Surfaces that can be built from paper’ in Architectural Geometry, Bentley Institute Press, pp. 534-561.

Shin, J 2015, ‘Toward a theory of environmental satisfaction and human comfort: A process-oriented and contextually sensitive theoretical framework’, Journal Of Environmental Psychology, 45, pp. 11-21, ScienceDirect, EBSCOhost, viewed 2nd June 2016, < http://www.sciencedirect. com/science/article/pii/S027249441530044X>.

M3 Charny, D “Thinking through making” in Power of Making, exhibition catalogue, 6 September 2011- 2 January 2012, V&A, South Kensington, London.

Kolarevic, B 2003, “Digital Production” in Architecture in the Digital Age - Design and Manufacturing, Spon Press, London, pp. 30-54.

Iwamoto, L 2009, Digital fabrications: architectural and material techniques, Princeton Architectural Press, New York.

M4 Rifkin, J 2011, “Distributed Capitalism’ in The Third Industrial Revolution, Palgrave Macmillan, New York, pp.107-126.

Marble, S 2008, ‘Imagining Risk’ In P Bernstein, P Deamer (eds) in Building the Future: Recasting Labor in Architecture, Princeton Architectural Press, New York, pp. 38-42.

Additional sources: BBC news, 2013, How much can an extra hour's sleep change you, viewed 2nd June 2016, < http://www.bbc.com/news/magazine-24444634>.

Pye, D., 1968. The nature and art of workmanship. Cambridge UP. *All references to lectures pertain to lectures presented by Paul Loh in Digital Design and Fabrication, Semester 1, 2016.

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5. 2

A P P E ND I X | im ag e s ourc e Page 26: Images 1,2,3 USAFA Cadet Chapel, By Walter Netsch of Skidmore, Owings, & Merrill, viewed 2nd June 2016, < http://www.archdaily.com/63449/ ad-classics-usafa-cadet-chapel-skidmore-owings-merrill-2>.

Image 4 Puppet Theater for Harvardâ&#x20AC;&#x2122;s Carpenter Center, viewed 2nd June 2016, <http://i595.photobucket.com/albums/tt38/papito_ chiulan/2004_LeCorbusier-PierreHuyghe_Pu-5.jpg>.

Image 5 Puppet Theater by MOS, viewed 2nd June 2016, <http://spaceinvading.com/bookmarklet/Images/02070912465982172004_ LeCorbusierPierreHuyghe_PuppetTheater_1.jpg>.

Page 43: Image 6 Mornington Peninsula Klein Bottle house by McBride Charles Ryan, 2008, viewed 2nd June 2016, http://www.mcbridecharlesryan.com.au/#/projects/klein-bottle-house/.

Image 7 Iwamoto, L 2009, Digital fabrications: architectural and material techniques, Princeton Architectural Press, New York. *All images and sketches are authorâ&#x20AC;&#x2122;s own unless stated otherwise.

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CRED I T S

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