DIGITAL DESIGN + FABRICATION SM1, 2018 M2 JOURNAL - GUILTY PLEASURES Jade Tan (752875), Isaac Yang (837495)
Rosie Gunzburg, Group 1
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SKETCH DESIGN DEVELOPMENT Based on M1 exploration of ideas, we wanted to keep the qualities of creating an organic volume as well as play with the ideas of transparency. We also wanted to explore using modular elements to create this organic form, through self-interlocking and self-supporting elements. However between the two different systems we find that there is a tension between opacity and transparency. Where simply using a wavy waffle grid is lightweight and transparent, it is too visible and might not suit our interpretation of personal space, which is meant to be private. On the other hand, using intersecting panels or smaller volumes to envelope the body can create a heavy looking volume that does not let in much light or allow much connection with the outside world. In the following section we aim to find a system that can incorporate both ideas, allowing one to protect his own privacy but still being able to communicate and interact with others. We wish to stimulate the psychological interaction between those within and outside of a realm of personal space. What do people think about or feel/imagine once their personal space can be physically manifested?
M1 precedents
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SITE AND CONCEPT distance from head to outstretched arm
elbows/forearm as radius
Our area of focus is around the eyes and the upper torso, particularly the arms. The idea of guilty pleasures involves the individual being isolated in his or her own bubble and committing an act without being seen. Hence the volume needs to envelope the person but allow enough space for arm and hand movement. It also needs to allow light and air in so that the inside is a comfortable space, but not allow anyone on the outside to look in. Hence using the distance from the shoulder to the elbow as a radius gives a guide of how far apart the inner surface of the volume needs to be from the body. The distance between the inner surface and the eyes also needs to be wide enough to allow the person to see what he is doing. Our desired form would wrap around the head, back and torso in an organic way, and incorporating a flexible material that is transparent or translucent would enhance the form’s weightless appearance. However, in order to protect the privacy and create a sense of secrecy around the act, we have to control the degree of transparency. Our chosen way of controlling transparency is through moire patterning, which is derived from overlapping gaps, hence allowing light in, removing unnecessary material from the form, and also creating an optical illusion. This will help to blur the separation between the interior and exterior space so that outsiders cannot easily perceive what is happening within the volume.
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FORM-FINDING Constructive Interference by Plebian Design static-kinetic, thinness, structural integrity, overlap
A laser-cut sculpture that produces periodic wave patterns as viewers pass by. The effect of the piece changes dramatically from one vantage point to another but the sculpture is static. Composed of Corten steel pieces that curve flush with the wall to a dramatic cantilever. The precedent is useful as it informs how the moire pattern works, which is to interfere with the way light passes through and how we perceive overlapping slits/gaps. The gaps are closely placed, and the two layers almost identical. It is also important to note the materiality of steel, which gives the structure support.
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MATERIALITY Moyamoya by Fumihiko Sano translucency, ripple effect, lightness
A house enveloped by two layers of stainless steel fence, it is designed to create a sense of vagueness between the inside and outside. The fence blurs out the inhabitants, but still allows light and ventilation into the building. Swayed by the wind it creates a range of moire patterns, generating a feeling of movement on the facade. It changes with the seasons and time of the day, creating different atmospheres.
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PATTERN MAKING Moire lights by David Derksen A collection of wall lamps featuring perforated discs that are made of brass and steel, which can be rotated by a tab. It incorporates an interactive element as the light invites people to play with it. The patterns are identical, but by shifting them, the discs create shifting hexagonal, ring and square shapes highlighted by the LEDs.
wave interference of dots
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moving surfaces, light, changing patterning
MOIRE PATTERNING EXPERIMENTS Inspired by the precedents, the following is an exploration of the mechanisms behind moire patterning. A grid is offset, distorted, rotated and scaled in different ways and overlaid onto its original form. The result is a series of 2 dimensional patterns, where the lines meet and become denser as well as form patterns to create a sense of movement. The Grasshopper script provides more flexibility in experimenting, allowing us to vary the size of the gaps, pull the frames’ control points and change the angle of rotation. Based on these tests, we find that the denser the grid is, the clearer the patterning as the eye is drawn to the black lines. Furthermore, rotating the patterns produces more interesting overlaps than simply moving the grid across each other in a straight line.
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Moire Fabric, a type of textile that is made by rolling layers of fabric at high pressure. The rollers vary the tension between the original warp and weft of the fabric, as well as flattens the threads. This means some horizontal or vertical threads (or lines) are displaced, creating the moire.
This experiment is taking the same grid but now moving some anchor points in different directions and offsetting them to different new points. This produces a fabric like effect, much in the same way as changing the weave pattern of moire fabric in reality. Also, with this experiment we found that moire patterns are the most obvious when the gaps are denser and smaller, creating a more defined optical illusion.
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CRITERIA Based on the precedents and patterning experiments, we have a set of criteria to evaluate the following prototypes. 1) effectiveness of static-kinetics: the object remains static but from different vantage points the structure appears to move 2) comfort: quality of light and air let in 3) lightness: how weightless the structure appears 4) dynamic form: how organic the form is 5) structural integrity: whether the volume can hold itself up looking for the best option
6) quality of blurring effect: visibility of the moire patterning 7) overall: this relates to the concept of privacy/secrecy, how effective the optical illusion is and whether it protects personal space well
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REFINED SKETCH MODEL
modelling moire patterns using laser cut polypropylene sheets, intersecting them to form a volume the grid has to be viewed at an angle for the moire pattern to appear, relating to the idea of static-kinetics in the precedent. this form produces a clear moire effect of straight lines but does not interlock well as too much material is removed.
static-kinetics comfort lightness dynamic form structural integrity blurring overall relation to concept
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the angle and position at which one views the overlapped grid structure reveals different moire patterns where the grids intersect, the density of the lines completely blocks out vision of the interior space
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FROM 2D TO 3D “the cage” is composed of two interlocking waffle grids of curved lines which are mirror images of each other. Using flow along surface, the lines are projected upon doubly-curved surfaces that give the form volume. Looking at the rhino model from an angle on the left and right side of the body, there seems to be a third pattern forming where the lines converge. However, looking at the model from the front, the lines do not sufficiently cover the body to allow for protection of one’s privacy. The resulting form is lightweight and transparent but too much material is removed to adequately convey a sense of secrecy.
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static-kinetics comfort lightness dynamic form structural integrity blurring overall relation to concept
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PAPER SCULPTURES <<The general rule for this prototype is to alternate the orientation of the panels The panels are hooked onto each other by their vertices. Some panels have also been flipped so that their mirror image is facing outwards. The result is an organic form that appears to mimic the shape of the body. The use of a flexible material like paper allows the overall object to look more free-form as it has both concave and convex surfaces. Howeve, the thinness of paper also means less friction, hence the hooks had to be held together with tape, producin a less desirable aesthetic. Also, considering the patterning or any perforations we might make to the form, we will need a harder and more durable material that can still be easily bent.
static-kinetics comfort lightness dynamic form structural integrity blurring overall relation to concept
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variations of the same idea of interlocking panels
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RHINO MODEL-GENERAL FORM
Our basic rhino form which provides a guide for how to lay out panels on the body. The general outline is amorphous and organic, to simulate a sense of not knowing what goes on inside and curving around the body to accomodate the chosen activity.
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To overcome how heavy the form looks, adding perforations lets light through and reduces its mass.
The form is actually two layers, creating an overlap that blurs out the space
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FINAL PROTOTYPE 1
The overlapping dots create a perceptible moire pattern of stripes.
The choice of using circular perforations relates back to our findings that the denser the pattern, the clearer the optical illusion. Laser cutting holes creates an approximate grid of lines, but the lines are much thicker than our first sketch design model and the gaps/holes can vary in size and density.
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Playing with the sizes and distances of the holes and overlaying them
Holes can be easily Boolean in Rhino and placed anywhere on the form, unlike lines governed by a grid.
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The basic idea was then to laser cut two identical squares, each containing differently sized perforations, which are then connected. Cuts are then made in the double lined panel according to the paper template and this provides slots for the panels to slide into each other.
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static-kinetics comfort lightness dynamic form structural integrity blurring overall relation to concept
The slots being fixed in a certain way creates an interesting geometry where the holes further overlap in space. Hence, some panels facing each other at an angle and viewed on the same plane creates a dense area of black lines which renders whatever that is behind it completely invisible.
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FINAL PROTOTYPE 2 This alternative prototype uses bigger panels in a different pattern. Similarly, two layers of panels with bigger and smaller sized holes are overlapped and hooked. This prototype gives a more curved form and is completely self supported by the hooking mechanism, relying only on friction to hold it together. The polypropylene offers flexibility for the panels to bend and curve but is still rigid enough as a structural material.
the perforations when overlapped form a moire pattern of straight lines
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study of the shadowing
the thickness of the material means there is a limit to how many panels can interlock, up to 6 panels.
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internal view
static-kinetics comfort lightness dynamic form structural integrity blurring overall relation to concept
the multiple layers create areas of opacity and translucency.
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SYNTHESIS AND REFLECTION Throughout the process of experimentation and design, we have gained a deeper understanding of how moire patterning works, as well as understanding material constraints by working with physical models. The next step would be to push the boundaries of patterning, and optimize the sizing, distance and rotate or distort the perforated panels to a greater degree to create more dramatic moire. Also, we will be attempting to finetune our rhino model to better fit the body and for it to function well as a secretive personal space. We will also be testing the visibility of objects and the body when the volume is placed. We have considered how to make the moire patterning more obvious, hence perhaps using colour to highlight the circles and create even more of an optical illusion. Also, although we have cut out a lot of holes in the form, we hope to make it look much more weightless but not compromising in material strength and stiffness. A further problem with polypropylene is that it is easily burnt and warped in the laser cutter given the extremely small hole sizes. Suitable materials that are both flexible enough to be bent but not losing durabiity could be cardboard, thin mounting board or wire-reinforced fabric (a wire frame holding two layers of fabric).
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possibility of adding colour by using coloured transparent sheets behind perforations