DIGITAL DESIGN AND FABRICATION SM1 2016 M3 JOURNAL Isabella Chow 833256, Victoria Davidson, Triton Lay 832641 Studio Six - Sia Malek
contents moving on from M2 page 1 key concepts page 2-3 understanding the helicone mechanism page 4-7 design development page 8-11 reading response wk 6 page 12-13 reading response wk 7 page 14-15 intermediate models page 16-19 preliminary rhino modelling page 20 further design development page 21 developing the three dimensional rhino model page 22-25 fabrication process - a timeline page 26-31 testing effects page 32-33 details of final model page 34-37 appendix page 38
moving on from M2
Although the M2 design demonstrated concepts of personal space, we found that it was unrefined and did not function as intended due to material choice and joints. Polypropylene was too thin, and did not have the rigidity we needed to make the folding mechanism function correct. Likewise, using string to connect joints allowed too much movement. As a result, some pieces were too tight, whilst others were too loose which made the slats fall.
hall ’s int im
key concepts
ate
ace sp
kinetic use of plane and section As plane and section is a very static system, we were determined to introduce a moving element that could demonstrate the constant expansion of personal space. Through brainstorming we concluded that in order to effectively demonstrate movement, the design must move away from the classic ‘waffle’ form of the plane and section system.
sharp vs fluid curves The final design is symbolic of two states- a feeling of calm when the form is closed and a feeling of being threatened which can be achieved by rotating the sharp pieces around. This mechanism is effective in expanding one’s personal space in addition to conveying two states of emotion through sharp and curve forms.
an expansion of the personal space bubble To support our prior research of Hall’s theory of personal space, our design focused on how the expansion of this intangible area around the body can act as a protective factor. When a person is feeling comfortable, the personal space bubble is reduced to a close proximity around the body. However, often this does not remain constant due to various environmental factors. Through our design we wanted to incorporate both states of being by allowing the plane and section system to switch between the two.
Figure 1. Helicone Kinetic Sculpture Original images retrieved from http://www.thisiscolossal.com/2012/12/ cycle-of-decay-a-sculpted-ceramic-hand-that-looks-like-a-carved-treebranch/
kinetic helicone mechanism
Using semicircular pieces to limit the rotational movement of each layer, we could make each piece rotate 137.5 degrees which is the golden angle. The angle occurs between successive florets of various flowers, thus applying this effect to various shapes would form a blossoming object.
understanding the mechanism
SPINE The pieces need a spine to rotate around, the centre of the spine acts as the centre of gravity
“JOINING PIECES” pictured in red Are cut at an angle of 111.35 degrees There are two between each teardrop piece, one attached to the upper piece and the other to the lower piece Each piece has the ability to rotate137.5 degrees with each spin
“TEARDROP PIECES” pictured in blue Each has a red piece attached to the top and bottom (with the exception of the top and bottom pieces) this allows each piece to rotate 137.5 degrees
design development Figure 2. Personal Space - � common sensitive areas include the area
in front of the face down to the torso�
Original image retrieved from https://au.pinterest.com/search/pins/?rs=ac&len=2&q=oyster%20 magazine&eq=oyster%20ma&etslf=5076&term_meta[]=oyster%7Cautocomplete%7C0&term_ meta[]=magazine%7Cautocomplete%7C0
Exploring a helmet type structure - as analysed in M2 the area extending from the head to the torso. A helmet protects just the head but here we explored the helmet as an extension of the upper torso, shoulders and neck. Applying the helicone mechanism to a helmet structure so that it wraps around the circumference of the head. This technique would also push the ‘helmet’ from an object solely used for protection to an aesthetically driven 2nd skin that provides two effects (open and closed).
Figure 3. Rinaldy A. Yunardi, Fashionably Futuristic Original image retrieved from https://au.pinterest.com/pin/510314201507874645/
To successfully use the kinetic helicone mechanism the profile horizontal pieces must sit and rest on a spine the centre of this spine acts as the centre of gravity that the horizontal pieces will rotate around. Importantly this centre of gravity must also be positioned in the centre of the head - to prevent the pieces from spinning in awkward and inconvienient rotational circles which would prevent the mechanism from working successfully. The issue was however that the head is not a solid straight spine with a defined centre of gravity. To counter this issue we decided to create a hollow pipe-like spine with a defined centre of gravity that the pieces would rotate evenly around. We came up with two possible ways to create this pipe - with slots for the eyes and holes for the ears. The first use a large sewerage type pipe which we would cut so it wraps around at least 3/4 of the greatest circumferance of the head. The second to laser cut flat cut circle pieces from thick MDF or perspex and stack them. The issue with these was that the pipe was ridiculopusly expensive and was only availiable in 8m lengths. While the stacked method was also extremely expensive, time consuming and came with an element of error - it would not be completely smooth and this added friction could possibly decrease rotational movement of the horizontal pieces. Hence we decided to use a plastic bucket which we would cut and slice eye / ear slot into.
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? Two-dimensional fabrication Involves cutting by a two-axis motion. For example, we used the laser cutter machine, which cuts surfaces rather than volumes. The process of laser cutting uses a beam of infrared light together with carbon dioxide gas to melt or burn the material being cut. This method only works on materials that can absorb light energy. For cutting thicker materials up to 38cm, a water-jet is an effective tool to use. Subtractive Fabrication Multi-axis milling is in the x, y and z axis direction and can be carried out by the CNC. This is an effective method to remove volume rather than just the surface. Some machines are able to perform undercuts through four-axis and five-axis systems. There is flexibility in finishes and the amount of material removed through alternating the drill bits. Additive Fabrication Works in 2D layers whereby the form is separated into increments and then layered by the manufacturing machine. For example in 3D printing, ceramic or plastic powder is melted before being formed into separate layers, which together create the final overall form. 3D printing would have been a useful and more accurate tool to use in our design for creating the central axis form that the individual pieces rotate around. Formative Fabrication The process of reshaping a material through heating, melting or straining. This is useful for reshaping metals or bending glass. Digital technologies and assembly Assembly can be carried out more efficiently by using the digital model as a reference. Electronic surveying and laser positioning are technologies that can aid this process. This is a much more accurate and precise method of locating the placement of building components.
How does the fabrication process and strategy effect your second skin project?
Digital programs are useful for communicating with fabrication machines through computer-aided manufacturing. Digital advances have extended ideas by allowing the unimaginable to be translated and constructed. Designs are no longer limited to what a person can draw, but rather whether constructability can reflect computability. The use of the laser-cutting machine allowed for precise and efficient use of MDF material. However, this method of fabrication is primarily guided by the digital fabrication process in which we found many constraints when developing the final idea. It was much easier to design forms in Rhino, however these could not often be executed in real life, either due to materiality or limited construction methods.
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? Referencing from the lectures and readings, what is the implication of digital fabrication on your design ? Advancements in technology such as using CAD still expressed 2D form, it was only with further developments into 3D modelling that programs like Rhino can extend architectural thinking into the realm of innovation. The construction of the design depends on which machine is best able to carry out demands. This has made architects more conscious of material qualities as well as the various ways machines can work. The progression of modernism is identified with prominent architects such as Le Corbusier and the height of industrial age. During this time, the sectioning method was used for curving large surfaces such as aeroplane bodies. Lofting is effective for building between curves. Contour command in Rhino is useful. Sectioning often involves layering 2D materials to create a 3D form. Mafoombey (2005) project is an interesting example of this as 360 separate sheets of cardboard are stacked together creating a form that consists of spaces. Digital Weave- Univerity of California, Berkeley- consisted of parts that could be put up and dsmantled quickly to suit the transient space. Made up of plastic woven ribs that slot into plywood base.
design development - two phases For the final form we devloped two phases, open and closed, in line with the way the mechanism works: PHASE ONE - CLOSED: Horizontal profile pieces form a profile of the face underneath with a spine down the back of the helmet form. Personal space is at its smallest. The form at this stage is an extension of the face below, andulating curves create a welcoming form. PHASE TWO - OPEN: Horizontal pieces are rotated and dispersed around the circumferance of the head randomly, they create a distortion of the face and the dispersion of the rear spine all around the head results in an increased personal space bubble and an overall more threatening form.
intermediate model one:
This was the first test model for concept 3. It allowed us to test the proposed mechanism for ourselves and really understand how the Halicone toy was able to lock into different positions. The placement of the joining pieces dictated the overall form of this model when open or closed. Testing the MDF was a good starting point as the material was weighty enough to hold pieces down whilst still allowing for a smooth movement. The use of the small wooden pole through the center of each piece made us think of ways a similar concept could be applied to the body by possibly using a rounded hollow form such as a large pipe or a bucket. Using the teardrop shape also demonstrated how when closed, the form is very neat and streamline, but when open it turns into a sharp and angular overall shape.
With each spin, each piece rotates 137.5 degrees. The sequential rotation of all the pieces results in an expansion of the personal space circle by x amount - x representing the distance between the tip of each teardrop point and the closest point of the inner circle to the point.
intermediate model two:
The primary focus of creating this model was to play around with different shapes of the individual pieces as well as testing Perspex. To coincide with our idea of personal space being transparent and intangible, we initially wanted to create the whole final form out of clear Perspex. However, testing the material through his model helped us decide that this material was not effective as there was too much friction between joining pieces, preventing the mechanism from working properly.
intermediate model three:
This small-scale model of the head revolving around a central rod tested the form of our initial idea for concept 3. However, after laser cutting the separate moving pieces, it proved difficult to attach the joining pieces to these due to the large variation in the sizes of these separate pieces. The individual pieces were also quite rounded meaning when the form was spun there was not much variation between curved and sharp elements.
preliminary rhino model
After the inital design development phase we decided on a form which had two desired looks. The first a contoured facial form with a clear spine / ridge at the back of the head, mirroring the face below the helmet. The second a randomly disorted face - unrecognisable - with spikes extruding from the central spine. We then attempted to model this concept design on rhino, this alluded us to some major issues with the form. Firstly the way the neck went in on the head meant that the bucket which acts as the spine and centre of gravity was obstructing the form and hence the pieces surrounding would be rendered static. We attemopted to cap an offset area around the bucket but the resulting form was undesirable and upon placing the form on a body in rhino the proportion looked completely ridiculous and we decided to go back to the sketchboard.
further development: altering the form
Moving on from the face form we decided to simplify the form and focus on creating spines which woukld expand the personal space bubble. We looked at creating a randomly lofted star or smooth andulating curved form however this countered our concept of expanding the personal space bubble. As with a lofted curved form when it was in ‘open’ phase the form would be just a distorted version of this shape with no expansion of the personal space bubble. Therefore we decided on a form where three lofted and andulating sharp spikes at the back of the head would be the closed form - when rotated to ‘open’ phase the spikes would be distributed across the circumferance of the head - expanding the personal space bubble and creating a threatening look.
developing a three dimensional model
BUCKET/ SHOULDER FORM: Modelled the bucket formation sitting over the shoulders
JOINING PIECES: Created using arc, extrusion and contouring commands - boolean difference command used to fit pieces to bucket
POINTED SECTIONAL PIECES: Created using loft and contouring commands - boolean difference command used to fit pieces to bucket
STATIC TOP HEAD PIECES: Created using loft and contouring commands. Top piece caps and weighs down the pieces to secure them so that they don’t fly off the top of the bucket when spinning
STATIC SHOULDER PIECES: Created using loft and contouring commands. Bottom pieces gradually ease helmut form over the shoulders - which carry the weight of the structure.
DELETING THE BUCKET/ SHOULDER FORM: Resulting in the final three-dimensional rhino model.
Figure 4. Exploded Axonometric of final rhino model
Displays the three core segements: Yellow rotating pieces, Red rotating mechanism pieces, Blue static framework pieces
fabrication of the model - a timeline
STAGE ONE: After numbering and removing each piece of MDF we stacked the main pieces around the bucket and played with different forms by shifting and spinning. Importantly the pieces can be stacked in any formation as it is the placement of the “joining� pieces that determines the final closed form.
STAGE TWO: After the final form was decided upon each pointed piece had two “joining” pieces glued, one on the top and one on the bottom. Every piece must be glued rotated 111.35 degrees from the piece below in an anti clockwise direction so that when spun clockwise the pieces lock to form the final “closed” formation.
STAGE THREE: After gluing all the joining pieces to the pointed pieces we discovered that the form did not reach the top of the bucket as was intended. This was a result of incorrect measuring of the bucket causing errors in measurements on the final rhino file. We also realised the spacing for the eyes was not high enough and that the perspex when looked through on a vertically sectioned direction was not completely transparent, hence visability was restricted.
To counter these issues we started to play with the spacing between each pointed piece. We finally worked out a method in which we would cut the top of the bucket off instead of the bottom. We also decided to increase the spacing from 3MM to 12 MM over the eye area to better visibility. Both these resolutions also increased the height of the form so that it reached the top of the bucket.
STAGE FOUR: Began to work on the bucket and eye / ear holes. We used a saw to slice the circumferance of the bucket to ensure an even and clean final result.
STAGE FIVE: We realised that the increasing vertical load and friction meant that as the pieces went down the model they spun a lot less successfully. To resolve this issue experiemented with applying paint, spray oil, wax and grease. The spray oil, wax and grease soaked into the MDF after a short period of time but we worked out that if we painted the MDF and then applied the oil, wax or grease it prevented the later from being absorbed into the MDF. Later we found grease the best option for decreasing friction and allowing for an easier spinning final result. We also decided to add cushioning foam inside the helmet for increased comfort.
testing effects
details
appendix Architecture in the Digital Age - Design + Manufacturing/ Branko Kolarevic, Spon Press, London c2003 Digital Fabrications: architectural + material techniques/Lisa Iwamoto. New York: Princeton Architectural Press c2009
images Figure 1. Helicone Kinetic Sculpture Original images retrieved from http://www.thisiscolossal.com/2012/12/cycle-of-decay-a-sculpted-ceramic-hand-that-looks-like-acarved-tree-branch/ Figure 2. Personal Space - � common sensitive areas include the area in front of the face down to the torso� Original image retrieved from https://au.pinterest.com/search/pins/?rs=ac&len=2&q=oyster%20magazine&eq=oyster%20ma&etslf=5076&term_meta[]=oyster%7Cautocomplete%7C0&term_meta[]=magazine%7Cautocomplete%7C0 Figure 3. Rinaldy A. Yunardi, Fashionably Futuristic Original image retrieved from https://au.pinterest.com/pin/510314201507874645/