DIGITAL DESIGN + FABRICATION SM1, 2015 M1 JOURNAL - IDEATION JEANNE ANG
691939 Michelle James - Seminar (1)
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Measured Drawings
To produce accurate measured drawings of the lantern, I used a scale ruler to obtain the following measurements.
LANTERN: Plan and Elevations (Stretched)
Laying the scale ruler on the lantern itself was the most effective way to do this. We also made photocopies of the lantern and measured the 1:1 scanned image to confirm its dimensions.
FRONT ELEVATION
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SCALE 1:2
SIDE ELEVATION
SCALE 1:2
PLAN
SCALE 1:2
A
A
LANTERN: Section, Plan and Elevations (Compressed)
When one of the component is removed, the lantern has a different look. Without the vertical support system which holds up the lantern, it becomes seemingly compressed. Therefore I have included the plan and elevation views of the lantern in a compressed form.
SECTION AA
SCALE 1:2
PLAN (COMPRESSED VIEW)
SCALE 1:2
SIDE ELEVATION (COMPRESSED VIEW)
SCALE 1:2
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Analysis MATERIAL SYSTEM: ‘Skin and Bone’ The lantern adopts a ‘Skin and Bone’ system. The blue fabric acts as the exterior layer (skin), and the metal and timber frames are the vertical and horizontal supports respectively (bones).
FABRIC (x4)
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SCALE 1:2
METAL FRAME (x1)
SCALE 1:2
TIMBER FRAME (x1)
SCALE 1:2
LANTERN ASSEMBLY: Putting the materials together
The fabric wraps around the timber frame. Each of the frame’s edge measures 130mm but each fabric’s width measures 140mm, allowing the extra 10mm for overlay. This is how the four pieces are joined. 10mm to allow for overlaying.
The metal frame, under tensive and compressive forces, is able to bend to its maximum degree. It then pushes against the timber frame and creates a sturdy vertical support.
The timber frame is made out of a continuos assembly of sticks which spirals inro a cuboid. The top and bottom edges have an additional layer of metal sticks for reinforcement.
ISOMETRIC VIEW
SCALE 1:2
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Digital Model RHINO: Process
For the digital model, I first started with the wire-framed base. Then, I created the parallel lines of the front side.
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The horizontal structure (timber frame) is a continuos spiral. I achieved the above model by arranging the lines in an angle and joining them. Then I used the pipe tool to create a solid image.
After the frame was completed, curves were drawn to form the horizontal edges of the lantern. The surfaces as shown above were then lofted and colours were adjusted.
RHINO: Digital Model Detail of metal frame (vertical support)
PLAN VIEW
DIGITAL MODEL SCALE 1:2
SCALE 1:2
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Sketch Model PROCESS: Deconstructing a Lantern
Separating the fabric and timber frame.
Timber frame attains flexibility when fabric is removed.
Prior to making a physical model, I deconstruncted the original lantern to attain a better understanding of how the material system for this object works. The timber frame and fabric are both non-sturdy elements but when combined they serve as reinforcement for each other. This allows the lantern to be able to maintin a static shape, and this is also when volume is introduced. I separated the two elements and was particularly interested in the timber frame. It is a continuos assembly of sticks but it has the flexibility to bend in many ways, creating unique structures that gives a sense of volume too. Above are some results that served as a starting point for my sketch model and design ideas.
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PROCESS: Model Making
In making this model, I wanted to explore the different ways volume can be born out of rearranging the timber frame. The sticks maintain continuous yet a structure that greatly differs from the initial lantern was created. In the middle, I thought of having intersecting elements for support but this may not neccessarily come across in my work later as I realised that the fabric when installed later, will reinforce the timber frame structure. In the bottom right picture, volume is created following the ‘skin and bone’ material system.
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Sketch Design #1
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UNFOLD
This first sketch idea relates to folds and patterns. A cube structure is a folded pattern of square faces and a square could be made up of a series of triangular folds. Besides a ‘skin and bone’ system, the lantern adopts a panel and fold system too. ‘Unfold’ incorporates both these systems with a frame structure, alongside fabric, being used to shape each fold. In relation to personal space, I personally feel most sensitive at the neck area, therefore I visualised this design to be a form of protection with sharp points and edges to further portray this.
Sketch Design #2
CONSTELLATION
‘Constellation’ is very much inspired by the continuous yet flexible nature of the lantern’s timber frame. Each person’s perception and value of personal space differs, therefore this design. which reflects flexibility, has the potential to be refined to suit an individual. A skin layer could be applied to add volume and to give the desgin a whole new look. Overall, this design aims to address the idea of individuality.
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Sketch Design #3
PROJECTION
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For this design, I thought of utilising the second skin to depict the boundary of one’s personal space. The ‘projections’ have a very similar structure to the lantern but they are of different sizes at each end, creating an ascending structure. My intention is to present these ‘projections’ as speakers with the larger ends suggesting “that’s as far as you can come to me!”. Again I positioned them around the neck area but I might consider other parts of the body as the focal site in the later stages of this project.
Appendix RHINO: Video Tutorials
Surfaces from Planar Curves
2 Rail Sweeps
Extruding Curves Pipe
Revolve and Rail Revolve
Loft
1 Rail Sweeps
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