DIGITAL DESIGN + FABRICATION SM1, 2016
MODULE 4 S C A L E
Hin Ting Frankie Cho 804015
Tim Cameron + GROUP 1
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CONTENTS 1.0 Ideation 1.1 Object: Hyperbolic Paraboloid 1.2 Object + System Analysis 1.2 Reconfiguring the paraboloid 1.3 Sketch design proposal 2.0 Design 2.1 Design development intro 2.2 Digitization + Design proposal v.1 2.3 Precedent research 2.4 Design proposal v.2 2.5 Prototype v.1+ Testing Effects 3.0 Fabrication (list your team’s member name on this cover page) 3.1 Fabrication intro 3.2 Design development & Fabrication of prototype v2 3.3 Design development & Fabrication of prototype v3 3.4 Final Prototype development + optimisation 3.5 Final Digital model 3.6 Fabrication sequence 3.7 Assembly Drawing 3.8 Completed 2nd Skin 4.0 Reflection. 5.0 Appendix 5.1 Credit 5.2 Bibliography
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0.0 INTRODUCTION Is personal space simply a blob of air around us? In this project, we challenge this analogy with a design that “scales” up to claim personal space. By expanding the pod, personal space expands in more than one dimension. The physical “scales” gives the user privacy while allowing him to monitor nearby situations, giving the user absolute control.
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1.0 IDEATION Ideation object: Origami hyperbolic paraboloid Material system: Panel+Fold Working mode: individual
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MEASURING THE PARABOLOID The hyperbolic paraboloid origami was folded using 20x20cm 110gsm paper with a pattern of two diagonal folds and 14 horizontal and vertical folds. It was then photographed using a Nikon 135mm zoom lens to minimize perspective in the orthographic view, and the lengths were digitally measured and compared against ruler measurements. Mathematical calculations are utilized to cross-check the values.
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180m
200mm
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PERSPECTIVE VIEW NOT ON SCALE
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35mm
17.6mm
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Elevation view Elevation view Plan view
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BREAKING DOWN THE PARABOLOID C R E AT I N G V O L U M E S B Y C H A N G I N G A N G L E S
θ = 90o
The paraboloid started as a flat sheet of paper. So how did it turn into a 3-dimensional object?
l =10cm
The process is surprisingly simple: by folding paper in zigzag, the center angles of each quarter become larger than 360o, causing paper to force against each other, hence erecting the piece.
w = 20cm
θ > 90o
l <10cm
w = 20cm 12
O N E D I M E N S I O N A L M O V E M E N T, T H R E E D I M E N S I O N A L T R A N S L AT I O N
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By pulling the paraboloid in one direction, the paraboloid transforms in three dimensions. This is because by compressing the paraboloid, the center angles become even larger, further increasing the curvature of the paraboloid.
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RECONFIGURING THE PARABOLOID
In my reconfigured object, I endeavored to recreate the paraboloid with the same principles, but with a curved surface. Each spike is created by piecing four triangles that have a larger angle than 360o.
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SPIKES + PERSONAL SPACE
I developed the reconfigured object by exploiting the repeatability of the pattern. The spikes has interesting potential as it invokes the idea of pain, which deters people from coming near. At the same
time, being composed of curved paper, this material has the potential of being flexible and light. This makes it useful for a device that protects the body and claims personal space.
HOSTILITY
FLEXIBILITY
LIGHT WEIGHT
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2.0 DESIGN Material system: Panel+Fold Working mode: Groupwork Group members: Teddy Cham, Anna Tsataliou
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DESIGN TIMELINE After taking on board comments from the M1 review, I explored the possibility of developing a spiked design that is retractable at the same time by folding. At the same time, Teddy, Anna and I teamed up and discussed the best way to integrate our visions into a coherent design. ANNA’S IDEA
HEADPIECE
NECKPIECE
TEDDY’S IDEA M2
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DESIGN PRIMER: PERSONAL SPACE Our research is grounded on the premise of creating personal space by concealing the face when we sleep. Clothes provide sufficient concealment for the body, hence we focused on how we could cover the face, in order to avoid embarrassment when sleeping in the more healthy way.
I t i s p ar a d o x i c a l b u t p er h a ps n o t illo gica l th a t t h e b e s t w a y t o s t u dy invations of pr i v a c y i s t o s ta g e th e m d el i berat el y. -- R. Sommers, 1969
POSITION #1: Good comfort + poor concealment = embarrassment
POSITION #2. Good concealment + poor comfort = unhealthy
AVOID FROM PHYSICAL INTRUSION
LIGHT CONTROL
CONCEAL FROM PUBLIC VIEW
ACOUSTIC CONTROL
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DESIGN IDEAS
Elevation (back)
Elevation (right)
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Plan
1. TRIANGULATION Triangulation of different sizes adjacent to each other creates unpredictable geometries hat can be explored further. This is due to the non-cardinal allignment of the edges of a triangle, resulting in nonlinear patterns and shapes.
2. OFFSETTING
3. TESSELLATION
Offsetting panels create a curtain effect. By offsetting and rotating each panel along the center point a pivot system is created where curtains can move along one another. The design is taken further to convey the sense of a hoodie with the offsetting system discovered. Because of the pivot system, hindrance to the foldability of the material is caused.
The tesselation of geometry allows flexible folding along each join, creating patterns that are easily manipulated along different planes. In this design the folding system is used to create a draping effect. This is inspired from the mesh command in rhino; by triangulating nurbs, curved forms can be achieved.
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PROPOSED DESIGN #1
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Inspired by paper airplanes, the folded triangulation of the neck connection creates a leaver system that can be used to lift the head piece vertically allowing for adjustments.
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PRECEDENT + RESEARCH VEASYBLE by GAIA
Varied Yoshimura fold pattern One signature feature of the panel and fold system is the flexibility of the folds. As seen in the diagram, the fold angles decrease from left to right, forming an unequal height. The versatility of this form is required for a sleeping pod and this system will be approached further to integrate into the design.
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The headpiece uses the same concept, by increasing angle sizes in the longer edge to elongate and form a cover for concealing the face and claiming personal space. Additionally, a spring system can be created giving it tensile properties.
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DIGITAL DESIGN DEVELOPMENT Starting off from the paper airplane headpiece, we experimented other ways in which the forms above could be achieved. One constraint we identified is that in order for our design to be foldable, creases must be present perpendicular to the folding direction. The dense configuration has the best potential as it maintains good foldability and does not produce that many sharp edges.
From top-left, clockwise: 1. Base NURB surface for panelling 2. Triangle panel 3. Diamond panel 4. Dense panel
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2D PANELLING
3D PANELLING From the dense panel, we decided to add complexity by introducing spikes into the design, derived from my idea of personal space. These spikes attach to the edges and can pop up when the headpiece is folded. The shape is formed by sandwiching two similarly-curved panels, one with a larger opening in the front. From top-right, clockwise 1. Panelling module pattern 2. Result with spikes pointing sideways 3. Result with spikes pointing backwards
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M2 DESIGN OUTCOME The final M2 design outcome is a union of the results obtained from 3D panelling and the offsetting concept developed by Teddy. Small, retractable paper springs are also prototyped with the â&#x20AC;&#x153;Miura foldâ&#x20AC;? (shown on the right), in order to provide structural support to the headpiece.
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PROTOTYPING Prototype
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TESTING e t EFFECTS e t
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3.0 FABRICATION Material system: Panel+Fold Working mode: Groupwork 3.0 FABRICATION Group members: Teddy Cham, Anna Tsataliou
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DESIGN TIMELINE
#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.
found that the original prototypes failed to fold because of the ambitious, irregular folding pattern devised through panelling tools.
Our group consulted origami books and reinterrogated the system of panel + fold. We
Based on the fabric we explored various alternatives in blending the neckpiece and
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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. It is hoped that “the Scarf” will be able to maintain in its shape, no matter how the user alters it.
M3 PROTOTYPE V.2 The â&#x20AC;&#x153;Scarfâ&#x20AC;? idea was dropped after initial prototyping 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 final design where the edge spikes are smaller, to hold the edges together.
RIGHT EDGE, FROM TOP: 1. Perspective view 2. Elevation view 3. Plan view
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RESEARCH + PRECEDENTS
SYNTHESIS OF RIGID-FOLDABLE CYLINDRICAL POLYHEDRA Koryo Miura + Tomohiro Tachi, 2010 This research paper was partly written by K. Miura, who is widely regarded as the inventor of the original â&#x20AC;&#x153;Miuraâ&#x20AC;? fold. Although not directly focused on Yoshimura folds, this paper gave us an idea of the limitations of the folding pattern. That is, when the geometry of the triangles are defined, the cylinders are no longer retractable. The only way to retract it, as we further deduced, is to open up a part of the cylinder.
FOLDING TECHNIQUES FOR DESIGNERS: FROM SHEET TO FORM Paul Jackson, 2011 This origami guidebook provides a diverse spectrum of folds available for us to optimize our design. This fold pattern, a v-pleat pattern, offers potential for us to integrate the spikes into the folds, to form a structurally stronger piece. However, this form was not adopted as it was too complex to fold manually. Nonetheless, this book allowed us to explore other options available for our design.
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ARCHITECUTRE IN THE DIGITAL AGE: DESIGN AND MANUFACTURING Branko Kolarevic, 2003 Chapter 3 provided us with a general overview of the available digital fabrication technologies currently available at our disposal. In our design, 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.
DIGITAL FABRICATIONS: ARCHITECTURAL AND MATERIAL TECHNIQUES Lisa Iwamoto, 2009 Architects utilize algorithms in plugins such as Grasshopper to add a further layer of complexity to their 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 bricks. By orientating the bricks in different angles, the wall simulates a curved brick wall surface. This is the inspiration of the initial tilting spike pattern we prototyped in the Final prototype.
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1. TRIANGLE H/W RATIO
M3 PROTOTYPE V.3 We created multiple small prototypes in order to test different aspects of our design.
We created multiple small prototypes in order to test different aspects of our design. The taller the triangles are, the more curved the design will be. In the end, with some digital computation, we settled with a H/W ratio of 1: 2√3, which will curl like a ring when compressed flat. This makes our sleeping pod easy to carry.
2. COLOR
x 2x√3
Color is an important part of the emotion our design conveys. At first, we chose white as we felt that sharp white can help deter bystanders. However, after we saw the result in the final prototype, we switched to black, as it is stealthier, helping to avoid attention. Black can also mask dirt that may accummulate when using the sleeping pod in the long term. Gold is selected for the internal of the spikes. This reflects warmer color tones to the user, increasing visual comfort.
3. MATERIAL We evaluated different materials and chose paper at 300gsm with an elimination method. Other candidates considered were as follows:
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• Polypropylene: snaps when etched lines were folded • 500gsm cardboard: high rigidity, lacks in folding capabilities and heavy • 400gsm card: folds with ease but is not very flexible and does not maintain its shape • 250gsm paper: not strong enough to support itself and could tear from complex folding
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M3 FINAL PROTOTYPE We constructed a final, full-scale prototype using white 290gsm paper with the original intention of using it as our final design. In this prototype we designed perforations of varying sizes and altered the spike structure to allow it to point in different directions, hoping to create a spiraling-up effect. Furthermore, we optimized the design for the card cutter with the “Fillet Corners” command on the perforations. Unlike the laser cutter, the card cutter uses a blade that runs one direction at a time. The command allows us to account for the sharp turns that caused ripping of paper in our earlier prototypes, avoiding such ripping and tearing problems.
Perforation shape after “Fillet Corners”
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The use of the card cutter allowed the creation of etched lines that can be used for folds. 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 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 then carefully glued onto the base surface.
Clipping and pinching folds at different parts created unique and interesting variations of forms and could be used to make the prototype less uniform.
Many different variations of spike structures are cut. Each variation pays respect to the changing sizes of the preforations to create a seamless and integrated design whilst the variety of spikes breaks the uniformity.
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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42 SCORING LINES
CUTTING LINES
M3 FINAL PROTOTYPE: CUTTING FILES
ZONE A ZONE B
ZONE C ZONE D
However, our final prototype had a couple of critical flaws, including: • Too bulky -- impossible for one person to handle it without dragging it on the ground • The height-to-width ratio of the diamonds is too low, limiting the curvature • The spikes point at different directions due to design alterations. This prevents the base surface from folding into the intended form • 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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FINAL DESIGN: DIGITAL MODEL
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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 â&#x20AC;&#x153;Offset Curves Borderâ&#x20AC;? 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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FINAL DESIGN: FABRICATION SEQUENCE
1. Scoring and cutting each component with the card cutter
4. Cut gold interior with card cutter to fit
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2. Folding base paper into Yoshimura pattern
5. Gluing gold interior to black spikes
3. Gluing base surfaces together; reinforcing glue temporarily with clips
6. Glue spikes to base, ensuring the base still folds
7. Base pattern completed, ensuring that it curves
10. Previewing the colour combination
8. Base pattern compressed as planned
11. Final spikes being added to base
9. Gluing spikes
12. Model with spikes being compressed
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FINAL DESIGN -- FABRICATION SEQUENCE
BASE The base is formed by folding and glueing together three yoshimura fold bases with the shaded glueing tabs.
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SPIKES 1. Fold printed spike pattern according to scoring lines, overlap and glue shaded triangles. 2. Insert golden sheet into the spike, and glue it against the inner side of the spike. 3. Glue spike bottom onto the base pattern.
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M3 FINAL OUTCOME
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4.0 REFLECTION Material system: Panel+Fold Working mode: Individual
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As argued by the architectural theorist Stan Allen in his article “Artificial Ecologies” (Deamer & Bernstein, 2010), it is somewhat paradoxical that while architects are responsible for the production of real, concrete matter, they are relying on tools of abstract representation. And indeed, architects are often criticised for this, for working based on abstract tools with complete disregard to reality. Besides being a playground for young architects to develop their design visions, architectural education is also about bringing these young architects back to earth, through the provision of construction and practical knowledge that informs them how a curve on a drawing can be realised into brick and concrete. DDF gave me an opportunity to explore one aspect of this discourse through an integrated digital design and actual fabrication workflow — at one point we have to engage with the emotional aspect of design through the primer of “personal space”, at another point we have to engage with the practical realities of design. The relationship between design emotions and actual construction, albeit could be uneasy, can sometimes generate fruitful results. Inventive and new outcomes can result from designers attempting to work around pragmatic factors. I was particularly inspired by one of Paul’s analogy he gave in class: “Design is like tying a knot and untying oneself.” When
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I vowed to design a headpiece that is retractable and foldable, I tied knots for myself, limiting myself to the selection of a handful of choices for patterning on the headpiece. Yet, it was through limiting myself to the Yoshimura fold that inspired me to develop a spike pattern, responding to the idea of personal space.
found that the thickness and variances of the 300gsm Optix black card we used are causing the problem. As Rhino assumes all surfaces to be planar as opposed to threedimensional, the golden interior pieces are somewhat larger than we expected it to be.
Digital design helped accelerate the process of form-finding: instead of spending the majority of time building prototypes, designers can put more time in finding forms that address the conditions of the brief. While it is difficult to understand how factors such as folding, lighting and dimensions work when sketching on a sheet of paper, digital software such as Rhino and Grasshopper help us preview these factors quickly. Production of artefacts can be highly precise through digital production; designers can worry less about human variations amongst various components. Yet, contemporary digital technologies have not completely bridged the gap between design and reality. One example is the golden interior pieces that we developed. Although these golden interior pieces of paper are cut with the card-cutter with precision, we discovered that they donâ&#x20AC;&#x2122;t fit seamlessly into the spikes. As we looked for a cause, we
It is in these scenarios when the human craftsmanship comes in. In the end, we have to trim the golden interior pieces by hand to make sure it fits. This procedure, as well as the glueing procedures in M3, introduces human variances to our design and tests our dexterity. Digital designers are therefore inventing new techniques, such as the robotic arm, to minimise these variances. Nonetheless, digital techniques are far from being a panacea. More importantly, realistic limitations allow crafters to showcase dexterity in a predominantly computer-oriented design, making our design less stark and more communicative of emotions and intent. As a pioneer of digital and high-tech architecture, Norman Foster still presents hand-drawn sketches to his clients, as digital renderings can come nowhere close to presenting the emotions conveyed in a design concept. Digital design will never become a complete replacement for handicraft, but should work cohesively with handicraft to form a comprehensive workflow. While digital design allows for rapid and accurate production, handicrafts help communicate emotions and add a humanistic aspect to the design.
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5.0 APPENDIX
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CREDITS
CREDITS Concept Page
development
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Computation
Model Fabrication Model Assembly
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Cover
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Frankie Cho Teddy Cham Anna Tsataliou
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BIBLIOGRAPHY
Deamer, P. & Bernstein, P. (2010). Building (in) the future. New Haven: Yale School of Architecture. Gaia, V. (2016). VEASYBLE. Veasyble.com. Retrieved 8 June 2016, from http://www.veasyble.com Iwamoto, L. (2009). Digital fabrications. New York: Princeton Architectural Press. Jackson, P. (2011). Folding techniques for designers. London: Laurence King Pub. Kolarevic, B. (2003). Architecture in the digital age. New York, NY: Spon Press. Miura, K., & Tachi, T. O. M. O. H. I. R. O. (2010). Synthesis of rigid-foldable cylindrical polyhedral. Symmetry: Art and Science, International Society for the Interdisciplinary Study of Symmetry, Gmuend.
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