Digital Design and Fabrication, M4 Final

DIGITAL DESIGN + FABRICATION SM1, 2016 “undulating dreams” Jaqlin Lyon

762561 Tutor: Tim Cameron

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1.0 Ideation 1.1 1.2 1.3 1.4 1.5

Object Object + System Analysis Vo lume Initial Design Proposals M1 Reflection

2.0 Design

2 . 1 Design Proposal v. 1 2 . 2 Design Proposal v. 2 2 . 3 Design Development 2 . 4 Change in Direction 2 . 5 Precedents 2 . 6 Further Design Development + Prototyping 2 . 7 Further Design Development: Determing Co m p o s i t i o n 2 . 8 Further Design Development: Catalogue 2 . 9 Design Proposal v. 3 2 . 1 0 Prototyping and Testing Effects 2 . 11 M2 reflection

3.0 Fabrication 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8

Final Sleeping Pod Design Final Digital Model Prototyping Final Design: Optimisation Assembly Dra wing Fabrication Overview Detailed Fabrication Sequence Completed Sleeping Pod M3 Reflection

4.0 Reflection 5.0 Appendix 5 . 1 References 5 . 2 Credits

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0.0 INTRODUCTION A sleeping pod encloses, protects and comforts.

A second skin grows, extends and moves.

I have adressed the notion of personal space through a sleeping pod by designing a growth of curved and fluid forms which have been fitted to the body. The overall effect is an undulating and gentle dynamism. The design captures the lightness and delicacy of sleep through the softness of the curves and forms, reflecting the gentle serenity experienced when dreaming.

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1 . 0 I D E AT I O N Introduction The first module for the studio asked us to examine and analyse objects, quantifying their properties for potential use in a design for a sleeping pod. Through a detailed but logical measurement process, I explored the Panel and Fold system of a hyperbolic paraboloid. Digital modelling was also employed to translate the object into Rhino, encouraging me to start viewing objects as digital data.

In this module, a reconfigured object was also produced that took after the original hyperbolic paraboloid. From this, some initial sketch proposals were also made.

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1.1 Object Folded Hyperbolic Paraboloid

_Elevation 1:5 I felt inclined to measure the object by traditional means; by simply using a ruler.

This is due to the object’s 3D nature - I was unable to photocopy it, scan it, or accurately photograph it from a plan and elevation perspective. Thus I relied upon a trusty ruler to measure predominant dimensions; the length of the edges, the height of the ridges and overall object etc. (Refer to sketches for found dimensions).

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_P

Plan 1:5

A

A - Section

B

Here, I was interested in the linear shapes of the ridges in section.

_Plan 1:5

Depending on where one ‘slices’ the object, the ridges seem to follow a consistent shape, however the sides of the folds is slightly inconsistent. While the heights of each ridge are the same throughout the object, it is simply how one cuts these ridges (on a diagonal) do the ridges change in section.

When the object is forced into an intermediate state by an applied force.

The object only remains in such a position when I force it to; once I begin to release this force, the object quickly ‘snaps’ back into place.

B - Section

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1.1 Object (Digitally Modelled)

_Plan

_Elevation 01

The digital modelling process followed a logical and sequential progression.

I began by constructing the wireframe of the hyperbolic paraboloid, from which I could begin lofting each surface and panel.

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_Elevation 02

_Isometric

_Perspective Views

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1.2 Object System Analysis While the hyperbolic paraboloid is a planar folding system with tensile properties, the flat sheet of paper that it is constructed from does not possess any tension in its resting form.

Therefore it is this tensile presence which facilitates the 3D hyperbolic shape, achieved only once the flat paper is folded. It is a selfsustaining system.

In reference to the sketches to the right, I found that when I pushed points A and B together, the object contracted further under this externally applied force.

I found this movement similar to that of an accordion; it is as if the hyperbolic paraboloid is a living, breathing object that is able to contract and release its shape.

This contracting movement is the primary system of this panel and fold object, and would be interesting to investigate further when it comes to designing.

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_Flattened paper, with creases only

A

B

_Folded paper with active valleys and ridges enabling shape

Enabling the curvature of the origami paraboloid is the sloping folds at each of the three levels.

The highest sloping fold is at a much sharper angle than the lower, creating a curve which decreases in steepness (ie. like a basic 2D parabola).

As drawn, the angles on one side of the object can be approximated into the standard shape of a parabola having taken the angle of each fold.

Thus one is able to create curved forms through the panel and folding system.

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1 . 3 Vo l u m e

R e c o n fi gu red Ob j ect: Comp lexity fro m S imp lic it y

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Using thin card and a glue adhesive, this model was created by irregularly assembling simple shapes (a right angled triangle) to create complex gemoetry and volume.

The pieces, prior to their joining, were 2D and static; once I linked them in incosistent ways, they formed a highly dynamic object. I am fascinated with this idea of taking something simple and tesselating it to create something complex.

Feedback from the tutorial suggested that my reconfigured object had strayed too far away from the original material system which I agreed with.

Following the panel’s recommendation to experiment more with the natural compressive benefits of the hyperbolic paraboloid, in the next module my partner and I began looking at ways to use the object in its entirety, or ways to translate the compressive panel and fold system onto another form. This is shown in M2, where additional sketch models/ reconfigured objects were created.

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1.4 Initial Design Proposals Proposal I

Proposal II

SHELL_RETRACTABLE_PROTECTIVE

FACIAL MOHAWK_THREATENING_DO NOT DISTURB

Collapsable shell. Portable for times of need.

The shell’s panels have tessellated pieces that are both opaque and transparent. This controls the amount of light that penetrates the shell.

A reverse mohawk for the face; th edges are unwelcoming and thr warding off potential disturbers.

Layering of jaggered elements t endless movement (as seen in th model); a contrast to the bounde of the hyperbolic paraboloid.

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B

he pointed reatening,

to create he sketch ed curves

Proposal III PERMEABLE CAGE_BODY GROWTH_POROUS

If we are completely separated from the outside world, we cannot see. We feel vulnerable when we are blind. This is ironic; since we also feel vulnerable when our personal space is intruded upon.

A permeable barrier, compared to an opaque one, permits one to feel protected, yet still allows for a connection to the outside world.

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1.5 M1 Reflection This module asked us to take an existing object, measure and analyse its form and system, and to then appropriate our observations into sketch designs that addressed the brief.

As Heath, Heath and Jensen (2000, p. 7) declare in the opening line of their book 300 Years of Industrial Design, ‘observation is a necessary part of creation.’ Indeed, I found that after conducting such detailed measurements and a rigorous digital modelling process on Rhino, I was becoming so familiar with the object to the point where I knew or understood almost everything about it. This proved extremely beneficial when it came to producing sketch designs; I was able to select one of the many features/ qualities of the original object, and expand/develop it into something new. From this module I realised the important of preliminary work in design; really understanding what it is that you are dealing with is crucial when it comes to later steps in the design process.

At the conclusion of the module, I realised that the sketch designs that I had proposed may have moved too far away from the material system of the original object. Thus at the beginning of the next module, when I grouped with my peer, we began looking at alternate design proposals; ones that were more obviously derived from the original hyperbolic paraboloid. Being able to do this (look back at the object, choose something new to focus on, and develop it into a design) was made possible by our initial measured drawings and analyses that were so in depth.

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With regards to my initial sketch design proposals (p.

18,19), I noticed that all my ideas at this stage were quite similar. This is because I was inspired and influenced by what I had read earlier in the Sommer (1969) reading.

When it comes to personal space, Sommer’s research indicated that people tended to move their face away and avoid eye contact in situations where their personal space had been invaded. I must have latched onto this way of defining personal space, and subconsciously generated designs which responded to it. Each of the 3 sketch designs share commonalities among them which address Sommer’s findings; they all fully enclose the face and block the wearer’s vision, limiting the amount of light penetration.

They attempted to alleviate the discomfort/vulnerability that one feels when their personal space is invaded.

Perhaps it would have been worthwhile to try and respond to the idea of personal space in alternate ways in order to generate a wider array of designs in this Module. In the next Modules, however, I feel as if I took more divergent approaches to capturing the notion of personal space in my designs.

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2.0 DESIGN Introduction

fluidity

Following the feedback from the M1 presentation, I began looking at designs which profited on the naturally compressive benefits of the object (in contrast to my reconfigured object which had lost this quality).

This Module involved the development of the sleeping pod design, as well as initial prototyping. Using precedents to inform the design process, it evolved and ultimately changed direction.

movement

dynamism

curvature

In this module, the designing process also evolved from orthodox 2-dimensional hand drawings to more modern 3-dimensional methods of digital design.

(Note: From p. 28 onwards, the work was completed during the M3 period. This is because I was dissatisfied with the way the design had developed by the end of M2 - the modules that my partner and I were working with were too restricting and constraining. However, since I had to return to the preliminary design stage once I changed direction, I have included it in the M2 section. The work from p. 28 onwards was individual work once my group member and I went our separate ways).

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2 . 1 D e s i g n P r o p o s a l v. 1 E X PA N D A B L E _ S H E L L Sketch Model #2 MOULDABLE // ADJUSTABLE // COMPRESSIVE

Sketch Model #2

_Plan

_Front Elevation

_Side Elevation

Although this design does not resemble the double-curved shape of the hyperbolic paraboloid, the concept of hill and valley folds has been translated to this object. Creating an expandable shell, the folds allow the sleeping pod to be compressed to a flat state, easy for transportation.

This design is adapatable and able to be built in varying sizes. As detailed in the following digital model, the design can be sized to shoulder width of the wearer. However, it can also be built at a larger scale to enclose the entire body when lying down.

An expandable shell allows for a full enclosure either of the head (above) or body (top right).

The amount of personal space that the wearer wishes to have is up to them depending on how much they expand the design and conceal themselves.

Although this design does not resemble the double-curved shape of the hyperbolic paraboloid, the concept of hill and valley folds has been translated to this object. Creating an expandable shell, the folds allow the sleeping pod to be compressed to a flat state, easy for transportation.

This design is adapatable and able to be built in varying sizes. As detailed in the following digital model, the design can be sized to shoulder width of the wearer. However, it can also be built at a larger scale to enclose the entire body when lying down.

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Precedent: Veasyble by GAIA We have mimicked the expandable nature of this precedent project, as we feel it very much addresses the idea of personal space. Within one motion (sweeping the pod over you), one is completely shut off from the outside world. Their personal space is now impenetrable.

The panel and folding nature of this project is also very similar to ours.

2 . 2 D e s i g n P r o p o s a l v. 2

Initial sketches addressing the notion of personal space through enveloping spikes.

Varying the size of the spikes to maximise threatening form.

Using Rhino to develop the initial sketches into a tessellated design for a sleeping pod

With a variation in geometry and size for each paraboloid, we were trying to create an undulating effect; one that was inconsistent and unpredictable. Thus the design is unapproachable by passers by wwho would be weary of disturbing this bizarrely formed structure.

_Plan

_Isometric

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2.3 Design Development

Refining the design

_R

Partially prototypin combination of white

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Right Elevation

g the design (a e polypropelene and card)

Precedent:

Huyghe + Le Corbusier Puppet Theatre_MOS Architects Dynamic, developpable surfaces

_Left Elevation

Begin with a simple piece of planar geometry

_Isometric

Organic shapes with curvature and dynamism developed via tesselation. The result is a volume of 3D proportions. In our design, we used this technique to volumetrically enclose the body and mark personal space.

The tessellation of panels creates a dynamic and unpredictable surface; this is a concept we were interested in for our own design to mark personal space. Flat surfaces have been combined to develop a curved one. This results in an interesting space where the visitor is pulled between viewing the space as a static and flat one, or as an undulating and dynamic one.

In our design we explored how unpredictable curved surfaces can be derived from flat, planar 2D ones.

This allowed us to develop a design that could enclose the curved nature of the body, and undulate depending on the body part it surrounds. Variation in sizing, such as that of the Theater’s panels, could also be helpful when fitting the paraboloids to the body.

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2.4 Change in Direction When designing, it is important to realise and accept when an idea is simply not working.

You need to constantly critique, evaluate and reflect on your own work at every stage, and this is something I learnt during this subject.

When progressing from this stage of the design, I became more interested in the effect of curved-crease folding. I found that the current design was too constraining and limiting in terms of design possibilities and in achieving the sense of movement that I was so interested in creating. Thus I moved away from this current pathway, and began exploring circular hyperbolic paraboloids as modules instead. I found their organically curved qualities aesthetically transfixing, and decided to adjust my design in a way which incorporated cirular hyperbolic paraboloids as opposed to quadrilateral hyperbolic paraboloids.

However, despite this change in direction, a few aspects of the previous design did carry over; notably the overall shape and arrangement of modules. The form and composition of my final design (refer to 3.0) bears strong similarities to these earlier designs. For example, the whole design rests on the wearer’s shoulders which are fitted with supportive hyperbolic paraboloids, while a front-covering element conceals and protects the upper face in a visor-like fashion.

The final design also encloses half of the wearer’s head, enveloping the rear of the neck and head as well, much like the design on the previous page.

Note: It is from this point onwards that the work was conducted individually.

The design ultimately evolved into a sleeping pod that grows from the body. The curved modules create a sense of fluidity and a undulating effect, drawing parallels to the gentleness and delicacy of a dreamstate.

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2.5 Precedents Paper Fashion, Diana Gamboa When I began looking at curved folding, I found this piece captivating as it looks almost as if it is exploding; its many modules and elements combined create a larger dynamic product that fluidly contours to the body. It appears to grow off the wearer, an effect I am wanting to recreate.

Curved Crease Folding, Erik Demaine The arrangements of his works inspired me to create something similar that interconnects and loops within itself to achieve a sense of undulating dynamism.

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2.5 Precedents Richard Sweeney I find his works compelling in the sense that they are very dynamic 3D objects with curved folds and shapes, while having been made from a flat piece of paper. This is something that really intrigued me, pushing me to explore this concept.

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Exploring the ideas from precedents through prototyping...

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2.6 Further Design Development and Prototyping I began exploring the concept of curved folding in conjunction with the system of hyperbolic paraboloids, using Erik Demaine’s work as a precedent to explore the possible forms and arrangements of cround hyperbolic paraboloids.

_Original state

Once I had made a circular hyperbolic paraboloid (using the same technique as when making square ones - concentric scores which are folded in a mountainvalley style which forces the object to ‘spring’ into shape) I discovered that these modules were extremely dynamic and could be easily manipulated and contorted to create very interesting and unusual forms. I was immediately drawn to this and the many possibilities these circular hyperbolic paraboloids could bring, and decided to continue exploring them.

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For these prototypes I played around with keeping the circular paraboloid within a larger square, as well as distorting the circular shape of the previous models, using an oval instead. I found that the first variations created sharp edges and points, while the ovals allowed for more intricate loops and twists within themselves. I thought that these variations could be used to my advantage in creating interesting and complex forms.

_Original state

_Pinched

_Looped

_Lo

ooped

Design Development from Prototyping _Twisted

_Twisted

The RED modules are supportive (for function) while the BLACK are intended for effect.

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2.7 Further Design Development D e t e r m i n i n g C o m p o s i t i o n

THE PRINGLES STUDY I investigated how pringles naturally fall and interact with eachother as a method of finding possible compositions for my design.

From the precedents of Diana Gamboa and Erik Demaine, I knew I wanted to create a dynamic design filled with a sense of organic movement. This then lead me to explore composition; how I would compile and attach these modules to one another to create a dynamic effect.

_1 Pringle

Since pringles are mathematically speaking curved hyperbolic paraboloids, I filmed them in slow motion capturing them as they were thrown/ fell to investigate possible organic compositions derived from these pringle stills. The intersections of the pringles have also been observed and sketched (below) to show how my curved hyperbolic paraboloids will interconnect.

_1 Pring

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e Still

gle Still

_2 Direction of movement

This arrangement was used for the shoulder/neck area as it both contours to the shape of the body while offering compressive support. _3 Effect of movement

_4 Translated to hyperbolic paraboloid composition

This composition was used to cover the head as it conceals it by following its natural shape and enclosing it. _2 Direction of movement

_3 Effect of movement

_4 Translated to hyperbolic paraboloid composition

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2.8 Further Design Development I experimented digitally with the possible variations of a circular hyperbolic paraboloid and catalogued these forms and iterations as modules: the circle, oval and oval with an offset center. From this record, I could choose and select which form would go where. Thus the final sleeping pod emerged from a very hands-on approach, as I physically experimented with each module to determine the design. I wanted to test all the possibilities and push these modules to their full potentials, as they do in the documentary ‘Between The Folds;’ (Gould, 2008) Wthey seek to test the limits of a flat sheet of paper to create 3D geometry.

_CIRCLE

PINCH

Pinching the circular module caused it to become stiff and sturdy; I have exploited its compressive nature and used it as a shoulder element to support the neck and head.

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_OVAL

TWIST

LOOP

PINCH

These are both very decorative forms with interesting twists and turns; I have used them as secondary members for an aesthetic effect.

Similar to the square, the oval modules act the same way if pinched, twisted or looped.

However, they generate narrow and longer forms (since an oval is a stretched circle). Thus in larger areas of the body I have used oval modules.

_OFFSET CENTER

TWIST

LOOP

PINCH

Pinching this module created a very narrow end with a larger and more open end.

TWIST

LOOP

These modules are very complex and active, and were used for secondary decorative elements to achieve a gentle dynamic effect, similar to that of the precedents previously explored.

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One of the effects that this design creates is its gentle movement that simulates growth. Reflective of the earlier precedents that I studied, the design has an outward dynamism. The result is that personal space is not

2 . 9 D e s i g n P r o p o s a l v. 3

marked by a threatening sharpness, but by soft curvatures of growth.

_SIDE ELEVATION

_ISOMETRIC

This design incorporates the catalogued modules in the most optimal way; pinched modules rest on the shoulder offering strong support and maximum comfort, while larger modules shield and protect the face.

Twisted and looped units clad the supportive modules for decorative effect.

_FRONT ELEVATION

_PLAN

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This design’s composition was also partly informed by the Pringles Study. The left shoulder’s composition follows that of the pringles as they naturally fell and overlapped. I have also tried to intersect and layer the modules according to the natural fallen states of the pringles.

2 . 1 0 P r o t o t y p i n g a n d Te s t i n g E f f e c t s M AT E R I A L T E S T I N G

TESTING EFFECTS I used the card cutter to prototype with a 300gsm card as I thought its thickness and bendability would permit a greater degree of contortion and twisting. What I failed to take into consideration was the buckling and tearing of card; it lacks elasticity, something that I would soon find Polypropelene offered.

Recalling the lecture on ‘Effects’ (Week 4) I began prototyping different compositions, testing out how to achieve the most dynamic forms to create a fluid effect.

I found that by twisting and intertwining modules at the same time, a strong sense of dynamic movement was created.

When I placed this prototype on the body, there was a strong threatening effect achieved by the sharp-edged black module (left). Although this aided in marking a personal space boundary, I felt it was too incongruous with the overall gentle curvatures of the other modules I was working with. Thus I decided to exclude them from the design.

Black 300GSM Optix Card

The form of this prototype grows from the wearer and appears ‘alive’ due to the repeated curves and twisted geometry that protrudes in different directions from the body.

Seeking a better material than the previously tested card, I began prototyping with polypropelene. What I found was that its flexibility gave it much greater potential for twisted movement without fear of the material failing.

0.6mm White Polypropelene

The strength of the plastic also meant that the circular hyperbolic paraboloids’ naturally compressive nature was strengthened, allowing each module to give greater support for the wearer. I also adjusted the width of the pleating from 15mm to 12mm for greater detail and visual effect.

This is an effect that I was intrigued by, and decided to focus on developing it. It would soon become the essence of my project.

DYNAMISM

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2 . 11 M 2 R e f l e c t i o n Following M2 and the prototyping involved, the materiality had been decided. Due to functionality (it needed to withstand compressive forces from the neck and head, as well as be flexible enough so that it could be twisted and contorted) 0.6mm Polypropelene was chosen. In addition, a catalogue of all the module variations that would be later used in the final was also established.

The design also came closer to its final stage at the end of M2; it is a strategic composition of gently undulating curved surfaces which contour to the natural shape of the body. The design addreses personal space through this dynamic movement that grows from the body, delineating a personal boundary that extends beyond the immediate body. Although prototyping was conducted to experiment with sharp-edged circular hyperbolic paraboloids (p.39) I decided that the essence of the project would be the consistency of these curved forms.

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Reflecting on much of the work I completed in this module, it all originated from a digital source - being able to firstly experiment and catalogue possible forms in Rhino 3D allowed subsequent work, and allowed the design to develop. Such digital processes like Rhino let me fully explore possibilities of the circular hyperbolic paraboloid modules. As evident in the catalogue I produced (p. 38), I was able to manipulate and vary the forms digitally. This would not have been possible without the aid of digital programs. I found that what Scheurer and Stehling (2011, p. 79) suggested in the Week 4 reading to be very evident over the course of this module; ‘complex shapes can only be handled digitally.’ If I were to have attempted this project, even the earlier stages that we see in this module, the results would have suffered in terms of complexity in form, possibility, precision and efficiency. Architects and designers are no longer ‘building what they can draw’ (Kolaveric, 2003); they are instead imagining nonorthogonal shapes and envisioning complex forms that can only be translated or described digitally. I would suggest that this entire project would not have been possible had digital processes not existed yet.

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3 . 0 FA B R I C AT I O N Introduction This module focuses on the fabrication process of the final design, following further prototyping. After M2, resolving technicalities like the junctions and how it would be fixed onto the wearer still needed to be considered. The design’s effects also required further development. These two unresolved elements were investigated and tested in this module along with prototype optimisation.

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3.1 Final Sleeping Pod Design

Overall directional movement of the design.

As Sommer (1969) suggests that personal space has invisible boundaries, I wanted to create an IMPLIED region of personal space through my design. I did so through the overall movement of the individual forms; our minds naturally extend these arrows of movement.

Thus a larger area is being defined by the design. A greater region of one’s personal space is achieved through the soft and gentle curvatures of the design which suggest a larger definition of personal space.

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3.2 Final Digital Model

_FRONT ELEVATION

_SIDE ELEVATION

Hard Copy Fashion, Noa Raviv These pieces from a 3D printed fashion collection embody the sense of dynamism that I am so intrigued by. The effect of these pieces is a gentle and smooth movement, appearing alive. They grow off the body, expanding the wearer’s sense of personal boundary and personal space.

_PLAN

_ISOMETRIC

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3.3 Prototyping Final Design O p t i m i s a t i o n

JUNCTIONS

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_SPLIT PINS

_PRESS BUTTONS

_JEWELLERY CLASPS

While the split pins were effective in that they were secure, they were quite large and not very subtle.

I felt this impacted the simplicity and cleanliness of the model.

The press buttons were more inconspicuous and less offensive than the split pins. However, like the split pins, they can only join surfaces that are aligned and oriented in the same plane (parallel).

This limits their use.

I started looking into jewellery clasps because I found that the delicacy of my project paralleled to that of fine jewellery.These jewellery clasps are highly inconspicuous, and their advantage is that they can join faces and elements that are not necessarily on the same plane. They are also strong enough to withstand the resisting forces of the hyperbolic paraboloids when pinched.

EFFECTS

PA R T I A L PROTOTYPE

LIGHT

From the material testing, I knew I wanted to pursue Polyproplene, but in black as it produced a greater visual impact. I then experimented pairing it with clear polypropelene.

Through this prototyping process, I decided that the clear polypropelene would have 2 functions: 1. To indicate the decorative and effect-driven elements of the design (as opposed to the structural or supportive) 2. To manipulate and control the effect of light through transparent coverage

When sleeping in public, we don’t want to completely shut off our sense and awareness of our surroundings by sleeping in the dark. We would otherwise feel vulnerable, not knowing who is passing by. Thus it is a similar concept to a night light; by controlling a small amount of light to enter a dark space, I allow the wearer to feel safer. In my design, I achieved this by controlling the level of light penetration through the use of a semi-transparent facial element. This both lets light in, while maintaining privacy for the wearer as their face remains shielded.

Foggy transparency to control light

A partial prototype of the final design. Making this prototype I intended to test the effectiveness of the joinery on the actual hyperbolic modules, as well as the composition.

I learned that the jewellery clasps remained an excellent way to fasten each unit even with the pulling forces of the paraboloid. They also worked well in holding the composition together as they allowed me to join non-perpendicular and nonparallel elements (due to the circle shape).

The dynamism and effect of light also worked well; when the units were compiled together, there was an overwhelming sense of curvature and movement. In addition, the clear polypropelene units contrasted well against the black, providing the layering effect I sought to achieve.

From this partial prototype, I was able to move forward with the fabrication of the final product.

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3.4 Assembly Drawing

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The assembly drawing aids in showing how each element/module is composed and fitted together.

_Red structural and/or supportive modules (primary structure)

_Orange ‘decorative’ members)

modules

(secondary

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3.5 Fabrication Overview

_1 RHINO TEMPLATES

_2 FAB LAB LASER CUTTING

I nested my design into a series of 2D templates to be sent to the FABLAB for laser cutting.

The templates were used to digitally fabricate each circular hyperbolic paraboloid module in polypropelene.

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_3 FOLDING THE 2D SHEETS INTO 3D MODULES I folded and bent the scored lines on both sides of the polypropelene to generate each module.

_4 PINCHING/LOOPING/TWISTING THE MODULES ACCORDING TO INTENDED DESIGN I manipulated the modules I had gathered according to the inteded design.

_5 FASTENING POSITION

EACH

MODULES

IN

The modules were secured in their positions from stage _4.

_6 MODULES ASSEMBLED All the modules were then assembled to produce the final 2nd Skin Sleeping Pod.

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3.6 Detailed Fabrication Sequence _ 1 R h i n o Te m p l a t e s

UPPER: 5 pleat circle + 3 pleat oval LOWER: 3 pleat oval with center offset + 2 pleat oval

UPPER: 5 pleat circle + 3 pleat oval LOWER: 3 pleat sharp edged circle

_2 Fab Lab Laser Cutting

UPPER: 7 pleat circle LOWER: 5 pleat circle + 3 pleat oval

UPPER: 7 pleat oval LOWER: 5 pleat circle + 3 pleat oval

_3 ‘Popping’ 2D sheets into 3D modules

Flat/2D sheet

Once the templates from Stage _1 were sent to the FABLAB, they were digitally fabricated via scored and cut lines using the Laser Cutter on specified sheets of either black or clear 0.6mm 600 x 600 Polypropelene.

This process is parallel to that discussed in Kolarevic’s ‘Architecture in the digital Age Design + Manufacturing (2003).

Laser cutting is a form of

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2-Dimensional fabrication which involves CNC cutting; in this case, with a laser beam.

This permits great accuracy, and I found this evident in the final product - there was a level of cleanliness and precision that contributed to the overal craftsmanship of the model.

This is just one of the many advantages I found when using digital forms of fabrication.

The templates had to be paired (indicated by blue rectangles) to account for the score lines required on both sides of a single sheet of polypropelene. To achieve this through the FABLAB, I placed only score lines on the first side as well as a large square to be cut around the geometry. This square is removed from the sheet of polypropelene with the first set of scored lines, and flipped. It is then placed back in the same position to be scored again on the second side. The cut lines to remove each module from this flipped rectangular piece were also placed on this side.

Manually folding the mountain and valley pleats

During this stage, the benefits of using polypropelene as opposed to paper/card were very obvious. Since plastic is far more flexible yet durable than paper, I could apply large amounts of force to bend the modules into shape without them tearing or buckling. This optimised both the efficiency and level of

Doubly Curved 3D Geometry

craftsmanship during fabrication (which was discovered through prior prototyping).

_ 4 P i n c h i n g , L o o p i n g a n d Tw i s t i n g t h e modules according to the design The individual modules were manipulated by twisting, looping or pinching them depending on their placement around the body. This was in accordance with the final design indicated by the digital Rhino model.

LOOPED

PINCHED

TWISTED

_5 Fastening the Modules in Position

An assortment of the metal jewellery clasps used: - 6mm light silver (for joining the transparent modules) - 6mm dark silver (for joining the black modules) - 10mm silver (for joining large sections)

From earlier prototyping, using a drillhead and jewellery clasps proved the most effective way to fix each module in position as it minimally affected the cleanliness and aesthetic of the design.

1.5mm drillhead

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_6 MODULES ASSEMBLED

Holes were drilled using a 1.5mm drillhead.

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As determined by earlier prototyping, each module would be joined using jewellery clasps.

The final assemblage of the model involved a very hands-on method.

The project had left the digital stages, and evolved into a craft-based process (Bernstein, & Dreamer, 2008).

Drills, pliers, clasps and tape were used to compile the elements into the final sleeping pod.

The entire assemblage of modules which constitutes the final physical model.

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3.7 Completed Sleeping Pod

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3.8 M3 Reflection During this module, I went back to the earlier stages of designing after a change in direction. Because I was redoing much of the ealier work with this new design in mind, I was unable to make a full scale prototype prior to the final model. I was, however, able to partially prototype the design, along with junction and effects testing. While the Lecture in Week 5 emphasised the importance of fabricating a full prototype as it clearly shows what is and isn’t working, I found that my partial prototype still offered insight into what needed resolving and what had potential.

Of course, I would ideally have a full scale prototype to test before fabricating the final model was I to do this project again.

With regards to prototyping, I think that I perhaps overlooked its importance and value (particularly in Module 2). During Module 3, I pushed myself to carry out more tests through sketch modelling and partial prototyping. What I learned was that these individual tests, such as experimenting with possible junctions, provided significant development for the overall design. They allow you to fully optimise every detail of your design. Had I not prototyped many possible junctions in an attempt to identify the most minimal one, the final model may have contained large, obtrusive and unsightly joinery. This would have severely affected the overall aesthetic and craftsmanship.

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Following the completion of this Module, I was astounded at how quickly the final model came together. This was because of the digital processes and programs I was using.

Using Rhino 3D to Laser cut the modules of my sleeping pod meant that they were fabricated very efficiently, and were ready for me to assemble. This reflects Iwamoto’s (2009, p. 4) main emphasis in her book. She praised digital processes as they afford a ‘seamless connection between design and making;’ this could not have been more relevant than during this Module. I found that after having spent the majority of the semester changing, iterating, adapting and developing my design mainly on a digital platform, once it came to fabrication, the transition from a digital file to a physical model was incredibly ‘fluid’ (Iwamato, 2009, p. 36) and direct. The Lecture for the week (week 7) also discussed how this process is ‘streamlined.’

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4.0 REFLECTION Digital Design and Fabrication as a subject has expanded the breadth of opportunities for me as a designer. Having little, almost no prior experience with digital programs such as Rhino, at the completion of this subjct my skillset has definitely grown in this area. Not only have I learned new techniques, but my imagination and ambition as a designer are much more open than before, as I have been immersed in such a free and possibility-filled way of designing and fabricating. I feel as if this subject has enlightened me about the potentials of design, and I am excited to see what I can produce in future design studios with this newly broadenedmind.

The way I relied on digital fabrication processes over the semester was quite similar to that of Frank Gehry as discussed in ‘Architecture in the digital Age - Design + Manufacturing’ (Kolaveric, 2003). As the reading indicates, Gehry used technology as a way to ‘translate’ physical geometry from his designs into a digital file which could then be used for fabrication. This is precisely what I have done; I have used digital modelling program Rhino to translate my design that compositionally arose from physical experimentation. I was then able to use these digital files to fabricate the final product.

However, while there was such great emphasis on digital means of fabrication in this subject, there remained elements of craft. I found this surprising as I did not expect there to be such reliance on traditional means of making by hand, while concurrently designing digitally. By the end of the semester, I have come to realise that while technology and digital methods of designing and fabricating may open up a myriad of possibilities while producing precise and efficient results, craft is still a vital component (Bernstein, & Dreamer, 2008) (for the time being at least... perhaps not in a few years time). I came to this realisation while reflecting on Module 2 and Module 3. As Paul discussed in the Week 11 Lecture, the current Third Industrial Revolution permits mass-customisation and mass-production. While I was able to digitally vary the circular hyperbolic paraboloid units in M2 and M3 in order to test possible forms and produce them en-mass, I still had to fold and pleat the laser cut 2D sheets into a hyperbolic shape. This involved a very traditional, hands-on technique of age-old origami. Thus while digital processes can free the possibilities of design, craft is still a vital component when it comes to fabrication.

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When assembling the final model, the entire process had removed itself from anything digital as I worked with drills, pliers and my own hands to craft the final sleeping pod.

What Stan Allen (2003, p. 83) said in his article “Artificial Ecologies” has great relevance to this aspect of my project; ‘...the practice of Architecture has always been in the parodoxical position of being invested in the production of real, concrete matter yet working with tools of abstract representation.’

Prototyping junctions, effects etc. also relied on the physical craft of making and testing, as things like joints can’t be tested digitally in Rhino with the absence of critical forces like gravity. This is perhaps the greatest limitation of digital processes that I came across during the semester; its inability to simulate real-life states with applied gravity.

Thus while designers should continue to explore the possibilities of technology, we shouldn’t forget traditional processes of making and craft. As what happened with my project, when the two come together, some interesting and beautiful results can occur.

If I were to recreate this project, there are many things I could improve. Firstly, while I was able to find a fairly small, unobtrusive way of joining the circular hyperbolic paraboloid modules together, I could have continued prototyping to find a way of joining them completely invisibly for aesthetic purposes.

In addition, I would definitely have made a full-scale prototype prior to fabricating the final. Because I had a sudden change of direction, I was unable to find the time to make one. However, as Lecture 5 emphasised, completing full-scale prototypes lets you experience and observe your design in real life. They clearly highlight flaws/unresolved areas, and they show what is and isn’t working, and what has potential. With the time constraints, I was only able to partially prototype the final. Although it may not have been to the extent that a full prototype could have offered, my partial prototype definitely still permitted insight into what was working and what needed resolving. The importance of full-scale prototypes is definitely something to consider and strive for in future studios.

As mentioned earlier, the reason for my time constraints was due to the fact I had a change in direction at the end of M2. I felt that what I had produced with my group member was unexciting and limiting. This was definitely the weakest work that was produced throughout the subject, and as a result, I struggled to define my design at the beginning of M3. This is when I opted to take a new path. In hindsight, this was the best decision I could have made; this made me realise the importance of knowing when a design isn’t working, and having the courage to abandon it. A designer can only push so far something that simply isn’t working, so it is better to recognise when in a design rut, and move in another direction.

Thus, following the shift in manual methods to digital processes, ‘blob’ like organic forms that were unprecedented in the architecture world before the Third Industrial Revolution (Rifkin, & Macmillan, 2011) began dominating our built environment. It began, and still is, evolving into much more interesting and dynamic forms, moving away from the rigidity of earlier architecture that was constrained by the lack of digital technology (Iwamoto, 2009). I think that my final sleeping pod reflects this change in design methods - it defies the orthogonal rigidity of perpendicular angles and straight lines. Rather, it embodies everything that technology is currently affording us. The sleeping pod is inherently organic in form, and represents the evolving style of design that is emerging as a result of technology and digital processes.

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5.0 APPENDIX

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5.1 References

Allen, S, (2003). Artificial Ecologies, in Reading MVRDV, ed. Veronique Patteeuw (Rotterdam:NAi), 82-87.

Gould, V. (Producer and Director). (2008). Between the Folds.

[Documentary]. USA.

Heath, A., Heath, D., & Jensen, A. (2000). 300 years of industrial design: function, form, technique. New York: Watson-Guptil.

Iwamoto, L. (2009). Digital Fabrications: Architectural and Material Techniques, New York: Princeton Architectural Press.

Kolarevic, B. (2003). Architecture in the Digital Age - Design and Manufacturing, England, London: Spoon Press.

Scheurer, F., & Stehling, H. (2011). Lost in Parameter Space? IAD: Architectural Design, Wiley, 81(4), 70-79.

Sommer, R. (1969). Personal Space: the behavioural basis of design.

Englewood Cliffs, N.J: Prentice-Hall.

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Also special thanks to my friend Maria for modelling my completed sleeping pod.

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