Ddf landscape m3 journal

DIGITAL DESIGN + FABRICATION SM1, 2016 M3 JOURNAL - S C A L E Teddy Cham (660341) Frankie Cho (804015) Anna Tsataliou (756583) Tim Cameron + Group 1

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Introduction

HEADPIECE

NECKPIECE

The feedback we received for our M2 presentation is generally positive. After extensive deliberation, our group has identified four key areas of improvement:

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• • • •

Blend the neckpiece with the headpiece design Further optimize the folding mechanism in the headpiece Optimize internal lighting effects Design mechanisms that secure the pod onto the chair

Design development #1. OPTIMIZED FOLDING SYSTEM

#2. PATTERN DECONSTRUCTION

HEADPIECE

NECKPIECE

M3

We decided to drop the neckpiece design as it is not conducive to the retractable nature of the design.

Our group consulted origami books and reinterrogated the system of panel + fold. We found that the original prototypes failed to fold because of the ambitious, irregular folding pattern devised through panelling tools.

Based on the fabric we explored various alternatives in blending the neckpiece and headpiece. One of the alternatives, dubbed “the Scarf”, is prototyped in Week 6. “The Scarf” is formed by deconstructing the folding pattern in the headpiece.

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Design development + fabrication of Prototype V.2 The “Scarf� idea was dropped after initial testing as it was revealed that the structure was not strong enough to stay as a shape. However, various mechanisms were tested and brought forward in the process, including: Spikes It was shown that the spikes were able to maintain structural integrity even in a narrower form. This provides ample flexibility in altering the base pattern shape and size.

Pinching Binder pins were used to hold individual folds together, and this concept is successful in altering the form of the folds. This concept is applied into the rings on the edge of the final design.

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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?

Digital fabrication processes include 3D, 2D fabrication, assembly, subtractive, additive and formative fabrication.

3D fabrication allows to translate geometry to a three dimensional object while 2D fabrication includes using a type of blade to alter a flat surface ( e.g. laser-cutting, card-cutting).

As the name suggest subtractive fabrication involves removing an area out of a volume while additive fabrication allows to add materials layer by layer.

Formative fabrication involves applying heat to a surface to get a desired shape and finally assembly is when a 3D model shows where each component should be placed in real life.

We used 2D fabricating methods, specifically the card cutter in order to score and cut the complex geometry of our sleeping pod. It significantly reduced the fabrication time and it cut the objects accurately.

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Reading applied to design How does the fabrication process and strategy effect your second skin project?

Our team uses a two-dimensional fabrication process, which involves a card-cutter.

The digital model was firstly unrolled in Panelling Tools in Rhino with automatical labelling, and arranged economically into the template provided by the FabLab, at a 900x600mm scale paper. Based on the digital models, certain lines are selected and edited to “scoring”, “cutting” and “pen” layers.

The digital data were then sent to the CNC card cutter, which cuts and marks the material accordingly.

A two-dimensional fabrication process precludes the production of any “non-developable surfaces”; all components of our design must be able to be rolled onto a flat plane.

Therefore the strategy used was unfolding by triangulation.

We analysied the components of our Rhino 3D model and translated them to 2D triangular components. This allowed us to accurately cut the geometry and assemble it using the above fabrication processes.

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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?

While in the past computers were mostly limited to the visualization and fabrication of the objects, nowadays they have taken a more active and vital role in the designing process.

Architects utilize algorithms in plugins such as Grasshopper to add a further layer of complexity to their designs, while the use of robotics allows the construction of nonstandard and highly repetitive assembly processes with a high level of precision. This widens the horison to more complex, innovative designs.

The Programmed Wall, by Fabio Gramazio and Matthias Kohler, is one such example. The project uses computer scripting to program the curvatures of the wall tessellations, and it uses robotics to orient the bricks based on its porosity and wall profile in order to maximize the effect.

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Reading applied to design Referencing from the lectures and readings, what is the implication of digital fabrication on your design ?

Firstly, digital programming is used to add complex variations in our design.

For example, curve attractors were used to create a gradually changing size for perforations and spike size.

It has also allowed us to program and preview scripted effects easily, so that the result of it, including appearance and lighting performance, can be evaluated instantaneously.

Not only does this save time from physical prototyping work, this allows us to evaluate digitally scripted design options that are difficult to prototype by hand.

Secondly, using digital modelling tools, it is also easy to get precise lengths and angles that are suitable for our design.

Without digital tools, it would be simple for us as designers to approximate and round-up values so as to ease our calculations. However, if this is fabricated by hand, small variances often accumulate and lead to visible inaccuracies in our fabricated product.

x 2x√3

Hence, with digital tools, we can program our designs with confidence that variations would rarely occur and if they do they would not affect the design drastically.

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Prototype development

FORM

The folding pattern is derived from the classic “Yoshimura pattern�, which curls on both ends when folded. Through this prototype the rigidity of the structure is tested and the folds get compressed at the ends in order to create an enclosing structure, suitable for our proposed design.

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COLOR Color is integral in the manipulation of emotions for designing. This prototype uses black to create a calm and mysterious effect. The shadows created by the panel and fold system is masked by the color of the material giving it a sense of mystery and also alienation. The stealth nature of black also helps create personal space and privacy.

MATERIAL We evaluated different materials and eliminated unsuitable ones before we identified paper/ cardboard at around 300gsm as the best material. Problems with other material candidates are: • Polypropylene: typically snaps when etched with folding lines.

• 500gsm cardboard: extreme rigidity and lacks in folding capabilities • 400gsm card: fold with ease but is not very flexible and does not maintain its shape • 250gsm paper: is not strong enough to support itself and could tear form complex folding

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Prototype optimisation

OPTIMIZATION: CARD CUTTER

A problem with the card cutter was the constant ripping and tearing of the paper.

Unlike the laser cutter, the card cutter uses a blade that runs one direction at a time.

This creates ripping in sharp and sudden angles due to the turn of the blade.

The problem was still occuring when the size of the preforations were decreated, and even continued when the acute angles were increased to make the turns of the blade less sudden.

The solution to this problem was to optimise the design. In order to account for the sharp turns of the blade of the card cutter, “Fillet corner� commands were used at the corners with acute angles as they had the most sudden turn, reducing chances of rip and tear.

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Prototype optimisation The use of the card cutter allowed the creation of etched lines that can be used for folds. This was extremely helpful as our chosen paper thickness was 290gsm for the prototype testing. Folding along the lines results in the paper giving in to the weakness of the etched boundary, causing it to easily fold without much intervention.

The usefullness of the card cutter cannot be understated as the prototype had many folds that overlapped in multiple directions in order to create a curvature surface.

To further strengthen the folds of the prototype many clips were used to force each fold into place. Clipping and pinching folds at different parts created unique and interesting variations of forms and could be used to make the prototype less uniform.

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Prototype refinement

Many different variations of spike structures are cut. Each variation pays respect to the changing sizes of the preforations and each gluing surface is identify to the respective surface to create a seamless and integrated design whilst the variety of spikes breaks the form from looking too uniform.

The folded base surfaces are lined up in assembly and inspected. It was decided that the spikes would be attached to each surface before all the surfaces are glued in order to make sure the spikes work correctly.

Over 60 variations of spikes are created, each within a family that alligns to the column of the base surface. The spikes are carefully glued onto the base surface. The folding nature of the base surface meant the spikes must be stuck properly and clips are used to hold them in place while the glue dries.

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Prototype optimisation

The base surfaces which have all their spikes attachmed and glued to one another with the aid of glue tabs. The un-planar nature of the folding base surfaces made attachment challenging as each tab is angled differently.

The spikes, which point slightly upwards created rigid resistance towards the intended folding outcome, making the prototype extremely stiff and unable to fold.

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The previous prototype has ensured the criteria of success for the next iteration, including: • The initial prototype is too bulky and heavy • The height-to-width ratio of the diamonds should be decreased to create taller diamonds resulting in a more curved surface • The spikes can not point at any directions but parallel to the width of the diamonds. This is to ensure that they dont get in the way and prevent the base surface from folding into the intended form • Due to these changes, the entire form can be folded flat into one plane. This has been tested as shown to the right • The base surfaces should be attached together first before the spikes are glued on to make sure the intended form is achieved

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Once the base surfaces are attached and the final form is confirmed, the spikes are once again created in assembly. Like the previous prototype, the surfaces attaching the spikes to the surfaces are all crafted identicle in order to create a seamless flow in the outcome.

Metalic gold sheets are used in the interior of the spikes to create an illuminating and glowing essence. The combination of gold and black in the design shows prestige, something that is comforting to some people.

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The golden paper was used inside the spikes to add a subtle yet significant contrast with the black and break up the monotony the base created.

As for the weight of the gold paper (120gsm) it was chosen deliberately so it does not add significant weight on the sleeping pod itself.

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FINAL DESIGN

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Attractor curves + Panelling grid The red lines show the attractor curves governing the perforation sizes. More perforations were positioned in the front so as to allow surveillance and comfortable breathing.

Triangular base pattern The base pattern is obtained through triangular panelling. Perforations were made through “Offset Curves Border� command in Panelling tools.

Spike pattern Spikes were obtained through 3D mirroring of the base pattern, and were isolated from the base pattern when unrolled.

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Fabrication Sequence

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1. Scoring and cutting each component with the card cutter

2. Folding base paper into Yoshimura pattern

3. Gluing base surfaces together; reinforcing glue temporarily with clips

4. Cut gold interior with card cutter to fit each individual spike

5. Gluing gold interior to black spikes

6. Glue spikes to base, ensuring the base still folds

7. Base pattern completed, ensuring that it curves

8. Base pattern compressed as planned

9. Gluing spikes

10. Testing the size, colour material combination

11. Final spikes being added to base

12. Model with spikes being compressed

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Assembly Drawing

BASE The base is formed by folding and glueing together three yoshimura fold bases with the provided glueing tabs.

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SPIKES 1. Fold printed spike pattern according to scoring lines, overlap and glue edge triangles.

2. Insert golden sheet into the spike.

3. Glue spike onto the base pattern.

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SLEEPING POD

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Appendix

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