Issu ddf landscape m1 journal hermione hines 3

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DIGITAL DESIGN + FABRICATION SM1, 2016 M1 JOURNAL Hermione Hines

835035 Studio 6 Tutor: Sia

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Measured Drawings

Elevation

My ideation phase began with a conventional measuring process with the aim of expanding understandings of materiality and the properties of my object concerning panelling and folding. The metal extendible mirror attachment was a material system which informed my ideation phase as an example of digital theory in fabricated form; it is a series of parallel lines multiplied across a surface to create intricacy through extension and contraction. This measured drawing aided me in observing every detail, and put me through the mental and physical activity necessary to understand “why the object is right” (Heath et al. 2000). In order to create my set of measured drawings, I used a variation of techniques. I firstly traced the main outline of my object directly onto tracing paper in order to accurately draw the object’s silhouette. I then used a combination of following the outline of the object left on the photocopy (Miralles 1994), as well as manual measurements, using a steel ruler, to draw the rest of the object and further gain a sense of the object’s scale. These dimensions were then projected onto the drawing. These procedures were successful and efficient because the size of the object allowed for the creation of the drawings at 1:1 scale. Experiencing the object by direct contact and thus recoding it in full size allowed me to not only evaluate its form, but also question its material (how and why) and to relate it to other similar products – I tried to place it in its technological context to expand my thinking about its potential for design (Heath et al. 2000).

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As the overall structure is man made with the lack of natural and organic shapes and elements, to draw it in plan and elevation was a simple task, and I placed importance on clean lines and displaying the function of the object. To accurately draw the object, I used tracing paper and the notion of symmetry as a technique – I could measure and draw the individual pattern of one half of the shape onto transparent butter paper, and then flip the other side over to comparatively copy the other half. Through measurement I discovered how the relatively simple mechanism, although strong, is flexible in one direction as the repetitive ‘X’ pattern creates the surface by folding, expanding and contracting.

Perspective

Elevation

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The shape and joining of the metal material enabled folding, extension and compression of the form, from the span being as small as 6.5cm (15cm in height) when fully closed, and 53.5cm (3.5cm in height) when fully open. Perhaps the most interesting component of this, was the manner in which each movement of one element informed the movements of the other elements, in a uniform and symmetrical way, through attachment. Furthermore the advancements of shifting angles and lengths in the configuration furthered the visual complexity, as well as creating dynamism through movement. The shape of the elevation changed relative to the angle changes, as the bigger the middle angles the smaller the shape contracted to, and the smaller these angles, the longer the shape was (as well as seeing all of the members in this view)

Elevations

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Analysis

Desconstruction of the model itself - parts of model display its simplicity and helped me to further understand why each element was configured a certian way and how these unique aspects aid in the function of the overall structure.

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Sliding/hinge joint system Through analysing the object critically and systematically through the process of sketching, I begin to recognise its individual system as well as project its other potential complexities. Mirailles wrote about the unfolding and analysing of a croissant with such intricacy and articulateness, so as to suggest the complexity that endures below or within the surface of an object (Miralles & Pinos 1988). I applied this notion to the extendible mirror attachment and it became evident that the panel and fold section of my object, lying in the 8 straight member-like components placed in a repeated ‘X’ formation side by side are like a projection of one another.

180 degree rotation

The structure expands and collapses in on itself in synchronisation and the smooth surface texture of the metal allows for its sliding ability. The members that are angled at parallel positions in relation to one another, move away from each other as the object extends. Yet on the horizontal axis, the members that are attached at the middle through

Pivoting actions of the 8 flat members shown as the structure expands

the function of the slip joint, become closer to one another in this same pulling motion. The 14 slip joints at the ends and middles of the ‘X’ formations with their pivot point functions, rely on the movement and friction between two members attached, thus allowing for the smooth movement (increase and decrease their closeness to one another) and strong attachment of the entire structure.

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The sliding action of the structure in its transformation, is further enabled through the four sliding/hinge end joints that attach the slim, round, vertical members, to the 4 flat end members. The joint is tube-like, hugging the cylindrical shape of the member it surrounds. There is slight looseness in their attachment allowing for them to move vertically up and down the members as the entire structure expands horizontally; this is necessary as the two flat end members become closer as the structure expands.

Vertical movement up and down the cylindrical bars is permitted by 4 end joints - allow of changing length of structure All angles grow or reduce equally in uniformity

Furthermore, the sliding/hinge joint can rotate around the cylindrical member approximately 180 degrees, allowing for the entire attachment of the structure to rotate on a manufactured axis. The cylindrical members are long enough to enable the full closing of the structure. The fact that the 4 end members are attached to two parallel vertical members, means that when the entire structure is pulled to its maximum length, it does not create an arch shape. If the ends were not attached however, an arch shape would indefinitely be created as the structure has increased flexibility – this is an interesting concept to me because it is about how connection either reduces or

Width decreases as length increases - proportional change as pulling force is applied to the end member

increases flexibility of structure. The left hand cylindrical member, is attached with thick, horizontal short elements, to the wide, flat member behind which has holes it to enable attachment to a wall. These short, horizontal elements must be thick and strong as they are supporting the weight of the mirror on the opposite end. Another function therefore of the overall structure is to facilitate compression via the weight of the mirror and its self-weight when it is orthogonal to the ground.

Parallel bars at either ends

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Modelling 3D Surfaces in Rhino

Workshop 1 – Archimedian Solid Creating this solid in Rhino was interesting for me because I learned how to create the correct angles in space through using geometries. Starting with squares and tirangles placed on the horizontal plane, we then used comands such as ‘rotate’ and ‘mirror’ in order to create the base triangle, square, traingle configuraiton - in order to get the triangle to the correct angle in space we used the edges of circles as a base line. This shape was simple to make but required focus in terms of process and making sure the shapes/lines in the viewports were correct which I have learnt is the basis of creating an accurate model in a digital tchnique.

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Revolve and rail revolve comands - simple and allowed me to draw symmetrical shapes quickly and efficiently. Rail revolve added another layer of constraint to manipulate the shapes more. Freeformed curves that I trimmed then joined together to create the irregular wine glass shape. Control points allowed me to create more exact lines. Putting fillets into the curve before revolving it added a realistic feel as well as adding a thickness to the glass. Surface > Revolve >Axis > revolve angle

Adding complexity with rail revolve command, as it adds another consraint of another curve (on the flat plane/Z direction). If curve becomes askew in perspective view: transform >set points>align in Z direction.

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1 Rail Sweep - how to model complex surfaces. Rail curve and then using cross sections to sweep. Surface > sweep one rail sweep 1 rail options - rebuild with means that basde on the number of control points added the complexity of surface changes. Simple sweep gives a nice clean surface. At halfway point there is a section that is a blend of both curves.

2 rail sweep on surface One or two rail sweep, can

Closed curves allow to create tube like surfaces. Seam points represented by arrows arrows must be pointed in the same direction if not the surface becomes skewed.

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use the edge of a surface as a rial or cross section for a command. One rail sweep > edge of shape. Make sure cross section is not too long for the radius that is sweeping, because it will causes an overlap which should be avoided.


2 Rail Sweep - more control over surfaces created. Surface > sweep two rails. Must click near the same end of the rails when selecting. Maintain height - forces main curve to keep same height, othewise height will change based on distance of rails. Add slash - find midpoint snap then perp which gives a better representation of surface.

Closed cross sections. take surface and hide it, then swich on upper sweep layer - two curves that come to a point (they are tangent). Two rail sweep to form the eliptical shape. Unhide previous shape made so that origional shape pierces second shape. Booleon union - not a good result! Both open objects, with no closed end. Solid > cap planar holes = closed polysurfaces Now apply union command.

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Pipe - decoration or fix a fillet edge command. Solid > pipe Drag curve around the rail and can choose as many diameters as one wants, creates undulating pipe around a curve.

Curve > curve from objects > intersecton click on intersecting objects, delete cylender, now have a curve that is perfectly on the spherical surface. Create a pipe around this surface. Boolean difference - curve intersecting surface, create a pipe around this curve, click the surface to do the subtracting, then the piece to be subtracted.

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Lofting surfaces Three freeform curves = interpcrv Edit curve using control points. Front viewport - drag curves on top of each other. surface > loft - selct curved in order - direction arrows are seam points of curve.

Select curves near the same location of each curve determines how loft will create surface. Can change arrows to create twists etc.

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Digital Model Reading ‘300 years of Industrial Design (Heath et al. 2000) was important for my research as it explained the idea of creating a union between the craft of designing and the craft of manufacturing, and observing the “good things around us with purpose”. Considering the manifold process that the undertaking of design – the “functional and aesthetic content of the product” has inert links with the manufacturing process – “the successful and economical production” – to create a “productive synthesis” highlights the importance of both craft and digital design in architecture (Heath et al. 2000). The ability to express ideas through drawing, digital design and models/prototypes, aids in creating tangible volume and materiality, thus intensifying of the emotional or sensorial experience within design and architecture.

The process of digitally modelling the object in Rhinoceros enabled me to further apply the logistics of the structure through the creation of the members and elements themselves as well as show the objective truth about the object, attempting to bring it to life by creating the form, texture and nuances that create it (Heath et al. 2000). I applied the ‘X’ pattern using commands such as ‘copy’, ‘rotate’ and ‘mirror’ which (similarly to my method used to hand draw the object), allowed me to create perfect symmetry. I also used commands such as boolean difference (for the rounded parts of the end members), pipe (for the cylindrical end members), and extrusions of surfaces/ curves.

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Elevation views


In the future, when creating a more complex structure of the second skin in Rhinoceros based off this initial structure, I would like to use the Panelling Tools plugin to apply parallelogram/ diamond/rectangular patterns along the surface of the object to increase complexity and repetition of the panel and fold structure. Using this distinctive method would implement the originality involved in digital fabrication and the designing process. However in this case it was not necessary.

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Desing Processs/Thinking

Here I started to feel inspired by the shapes created from my object. I first looked at the diamond pattern that was informed by the parallel sets of members that created myriad shapes fo diamonds as the structure expanded and contracted transforming the internal angles. The rule with these diamonds however, was that they were all uniform and there was no diversity in the different shapes, sizes, or interior openings of the diamonds. I therefore started to experiment with hexagons also inspired by the in class workshop. It became apparent and solidified that hexagons were capable of creating more diverse structures. These shapes would often inform themselves when a heptagon was added into the configuraition of the system. The heptagon served to distort and skew the overall graphic form. This was a stimulating idea to me and so I kep experimenting with the idea that if I control the length of lines of the hexagons, along with the width and thickness of the shape’s edges, the effect shape will take on a new entity and will, of its own accord, create different directions, forms, shapes and movements. I also liked the idea of the interior of the hexagons delineating the amount of opaque/translucent space that the hexagon will have; I think this ties in with the second skin concept well because these diverse spaces will create differnt patterns of vision as the view looks out of the skin structure, and as outsiders try to see the viewer inside of the structure - idea of protection.

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Here I started to experiment with the repetition of shapes in terms of projection. I used parallel lines of the shapes and extended them until they intersected and within these parameters, I created smaller scale versions of the same shapes with different length sides etc. This for me was an exciting process as it may be a potential process for creating a system of shapes that fit together to create a dynamic second skin.

Here I started experimenting with this idea in a more volumetric condition, whereby I was attempting to gain ideas through sketching of my reconfigured object. It was an extremely successful process because I was able to move through steps that for me made sense in terms of increasing movement and voliume while keeping with the basic rules of my reconfigured object. I asked myself questions about the potential consequences of certian descisions such as what imapct would placing a middle member through the hexagon structure create - I knew it would create more interconnectedness and so became stimulated by this new concept.

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Volume through Panel and Fold

In the creating workshop, my group and I had the opportunity to explore the potentias of panel and fold in terms of form and phsyical making. It helped me to understand why and how folding a structurally weak material such as paper, indefinetly creates increased structural strenth within an entire system. This is because the folds provide the panels with rigitity and stiffness that is dependent on the placement of these folds from one another. The structure was also able to stya in place because we shaped it aroudn the contours of the body in relation to where personal space is at its most sensitive (head, face, heart, chest). We explored how the matieral of paper in fact changed its properties when folded and attached together in the shapes of pre-fabricated hexagons and heptagons, Therefore the lines were delineated for us in a regular fashion which allowed us to explore notions of repetition contrasted with asymmetry. We discovered that there is a potent ability to create complexity in composition from the simplicity of panel and fold. I was intrigued by the idea of hexagons s as an extension on my the initial object (which created diamond patterns) as they create more interesting structures, are evident in nature, and through the implimentation of the heptagons create the irregularity of the system.

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Sketch Model I decided therefore in my sketch model, that I would further explore the hexagon. I however reconfigured it so that there was created a join between the middle elements by adding another element - therefore the hexagon perimeter was evident with the idea of the heptagon to create more dynamism through the middle element. In this sketch model, I was aiming to explore the notions and rules evident in my initial object (such as the angles increasing and decreasing with the expansion and contraction of the structure, as well as the two parallel end components being the driving force of movement and the two sturdy elements in the structure). I hoever, wanted to take my model further by adding another dimension of interconectedness in the volume, created by the extra element. I created two of these ‘heptagon-like’ structures and then used 5 horizontal elements to connect them in a parallel fashion.

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Series of movements through minimum and maximum expansion and contraction

The result was a complete transformation of folding properties as the structure could now expand in two directions/dimensions instead of one, when holding the two parallel elements and pulling and releasing in the same action as the mirror extension. The forms became much more interesting and due to the use of flexibl and rotational joints, the hexagon form could be seen in myriad ways instead of only the regular equalateral form. I used different sized wooden members to create further changes in shape as well as experimenting with more variables in the way the object moves. For example, on occasion the connections between the smaller and larger members tend to create an angle that inverts on itself so the motion is stopped because the object is caught on itself. Overall, my interst lies in the duvtility and increased flexibility of this reconfigured object and it probed me to think about the hexagon/heptagon pattern as a design notion. I tthought about how it could be reconfigured again to be worn on the body and became interested in exploring the idea of patterning as a means of creating shifting/irregular translucency and opaqueness.

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Sketch Design #1 Wrapped expanding and contracting cocoon

What is your idea? [Maximum 5 key words]

How does this respond to your personal space? In reading Somer’s Personal Space (1969) I discovered that people in fact want to be close to each other partly due to fascination, as well as being able to obtain warmth and comeradeship. However people may also want others to move away in a “nice innofensive way” if they feel threatened by those invading what is their perception of their intimate and semi-private aura that surrounds their sensitive zones such as face and chest, as well as less sensitive zones such as limbs and sides. Somers also described ones self boundaries as PORTABLE TERRITORY in the sense that the individual carries it with them wherever they go although it disappears under certain conditions such as crowding. In this response, I wanted to give the wearer of their second skin a framework that is dynamic and can adapt to situations were they feel as if they need increased protection of personal space through a semi-transparent system of hexagon and heptagon shapes as well as the implemention of my reconfigured obejct that may allow them to pull the sysem around them in different ways of view from the outside world. Therefore they are protected in system where they are able to integrate easily into crowds if they please. This is also relevant because “individual distance is not an absolute figure but varies with the relationship between the individuals, the distance at which other in the situation are placed, and the bodily orientation of the individuals one to another” (Somers 1969) therefore an adaptable model will ensure the individual is able to modify their second portable territory with eloquence and ease. View from front/slight side

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Sketch Design #2 The spaces between the images

What is your idea? [Maximum 5 key words]

How does this respond to your personal space? Somers defined personal space as “an area with invisible boundaries surrounding a person’s body into which intruders may not come”. However what happens when the inidivdual is unable to visually map people encroaching on their personal space? It is this question that I explore in this design, as it may mirror the interactions that occur on intimate occasions between lovers for example (Somers 1969), where there is typically dim light and therefore a reduction of distracting external cues and the allowance of the two people to stay close to one another. As personal space is a “culturally acquired daylight phenomenon”, exploring the possibilites of what happen when sight is taken out of the equasion to create an experince pertaining to other senses interests me. Therefore other reactions to invasions of personal space may be explored, and the usual reactions of people lowering their eyes or becoming rigid as a form of minimising unwanted social intercourse may or may not be modified. The idea of meeting someone “under conditions where privacy, dignity and individuality are so reduced is difficult to accept” - thus this skin would be used to challenge the wearer in his or hers interactions with others. It is also modifyable to the wearer with the potential use of my reconstructed object over the head of the wearer (they can pull it back anf fourth to create different densities of light around them. View from back

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Sketch Design #3

Fight the Flight

What is your idea? [Maximum 5 key words]

How does this respond to your personal space? Furthermore, personal space was described by Somers by “not being spherical in shape and not extending equally in all directions (people can tolerate closer presence of a stranger at their sides than directly in front)� - therefore this model explores how the tangible perception of personal space is in fact warped around the body. Research by Glen McBride has also explored the relationship between spatial and emotional behaviours such that people feel most uncomfortable when approached frontally, as well as reactions being more intense and strong when being approached by someone of the opposite sex (Somers 1969). This sytem indeed has a twofold use as it does not allow people to touch where they usually would in crcowds for example, such as the shoulders linbs and torso. This model thus also explores the defensive pattern of facing away, hands placed at the face, retreat, bodily evasions, closed eyes, withdraawing the chin into chest, hunching and crouching. This design prohibits the ability for these actions to occur and therefore forces the wearer to refect on their innate emotions rather than immedietly acting on them. It protects the neck and throat, sensitive areas to any kind of intrusion or touch.

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Appendix

Miralles, E., Pinos, C., 1988/1991, How to lay out a croissant, El Croquis En Construction pp. 240-24 Sommer, R., 1969, Personal space: the behavioral basis of design, Englewood Cliffs, N.J: Prentice-Hall Heath, A., Heath, D., & Jensen, A., 2000, 300 years of industrial design : function, form, technique, 1700-2000 / Adrian Heath, Ditte Heath, Aage Lund Jensen. New York : Watson-Guptill, 2000.

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