Digital Design + Fabrication - M3 Journal (Fabrication)

DIGITAL DESIGN + FABRICATION SM1, 2015 M3 JOURNAL - FABRICATION Jeanne Ang, Liang Hu, Edward Yee (691939, 655015, 699508) Michelle Emma James + Seminar (1)

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Introduction From the previous module, we also explored ways to achieve emotional effects and we particularly liked the idea of incorporating materials of different opacities to depict movement.

Our idea was that areas of higher sensitivity will be denoted by the use of opaque materials. The materials will decrease in opacity as areas of less sensitivity are approached.

In Module 2, we came up with a design that incorporated the use of cubes that will serve as a basic and static unit in measuring group member Derek’s personal space. We faced a big challenge however, and that was how we were going to make the rigid cube structure conform to the organic human body. We initially employed a frame structure that was again rigid and potentially too heavy and difficult to construct. Therefore after discussions with our tutors and exploring other means of delivering our ideas, we decided to make the cubic elements a self-supporting frame rather than infill for a separate structure.

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Also, we had to rethink our ‘skin’ system. We originally planned to have the cubes represent a ‘solidified skin’, but this deviated too far from the original material system of ‘skin and bone’. Our design lacked a clear distinguish of the ‘skin’ and ‘bone’ features as well as how they interrelate to create a feasible design and this is what we aimed to tackle with Module 3.

Design development A sense of movement could be achieved with the use of different intensity of string infills. These strings will form our ‘skin’ feature, tying the cubic frame together as well as providing a visual emphasis.

‘Plato’s Collection’ by Amila Hrustic

‘The Cube’ by Mina Lundgren

Rotating feature could

(Source: Dezeen)

(Source: Lancia Trendvisions)

be incorporated to show the non-static nature of

Further precedent studies: Before developing our ideas from Module 2, we looked at precedents that employ the cube feature but effectively conforms it to the human body. We realised that there is a sense of rotation or distortion incorporated in order to allow for the rigid structure to sit comfortably on the human body.

personal space.

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Design development + fabrication of Prototype V.2

FRONT VIEW WITH ARMS LIFTED

This is the first form of our design development. Here we incorporated a frame, composed of separate cubes that wraps around the body, forming an ‘X’ shape.

They are only connected on cornering edges, allowing for the movement of each separate cube.

SIDE VIEW

Connection joints: We mainly used straws for construction as this was flexible and easy to work with. Connection joints were a key challenge in our design and we initally used incised straws to create these.

FRONT VIEW

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Rhino model of prototype

PLAN VIEW

AXONOMETRIC

FRONT VIEW

SIDE VIEW

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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?

There are four digital fabrication processes: 1) Two dimensional fabrication 2) Subtractive fabrication 3) Additive fabrication 4) Formative fabrication For our 2nd skin project, we maoinly made use of two dimensional fabrication. We used laser cutting for creation of joints. Using Rhino, the three-armed joint shapes were arrayed over a 600x600mm sheet of polypropylene. We then laser cut these and manually bent them into a three-dimensional form.

Laser cutting technology (Source: Kolarevic, 2003)

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Formative fabrication

Rhino file sent for laser cutting. This was the array pattern we employed to

(Source: Kolarevic, 2003)

make most use of space and material.

Connective joints that we laser cut of black and white polypropolene.

Reading applied to design How does the fabrication process and strategy effect your second skin project?

Lasercutting the joints saved us a lot of time and it helped us achieve precision and uniformity of each joint. It also helped us understand the properties of materials as there are restrictions to what could be laser cut and what could not. We eventually settled for polypropolene as it was a material flexible enough to be moulded and allow for the rotation when the design is applied to the body. It is also strong enough to hold the edges of the cubes together.

Polypropolene is available in different colours and this broadened our design scope as we came to the decision to incorporate black and white joints. The reason for this was to denote the assemblage pattern of our final design.

Polypropolene joints incorporated to form a cube (~100x100mm).

We planned which colour to use at each joint based on how it will fold into a bigger cube (~400x400x400mm).

The white joints signify sides that swivel and meet with other white joints of another cube.

The laser cut joints as separate units.

Polypropolene is flexible, enabling us to bend it acoordingly.

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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?

Digital technology is contributing a lot to the design field as it enables us to design, make prototypes and test effects in ways that were previously rather constrained. As a result, architects and designers are not just designing, but also making and testing prototypes as part of the design process. This is a key change of using digital means to design to actually fabricating models, protoytypes, and even parts of the final project.

Michael Speaks, in the reading, states, “Making becomes knowledge or intelligence creation”. This suggest that ‘making’ is becoming an integral aspect of designing now, and technological innovations are definitely aiding this movement.

Digital design is useful in helping deisgners visualise spatial and emotional effects.

(Source: Iwamoto, 2009) Drawing parts on digital programms to be laser cut and assemblied later.

(Source: Iwamoto, 2009)

Iwamoto includes diagrams that clearly outlines design processes which incorporates digital means of fabrication, showing how this is now an integral part of design.

Assemblying parts to produce a physical prototype (possibly 1:1 scale).

(Source: Iwamoto, 2009)

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(Source: Iwamoto, 2009)

Reading applied to design Referencing from the lectures and readings, what is the implication of digital fabrication on your design ?

Digital fabrication has definitely contributed a lot to our 2nd skin design. Although we only fabricated the joints in our project, they were a key feature essential to the overall project. Digitally modelling our designs on Rhino was also helpful in understanding forms and visual effects, without having the need to make physical models that would be too time consuming. In saying that, the process of ‘making’ and actually producing physical prototypes and testing effects were the most valuable lesson we gained from the subject so far.

As Speaks says in the reading, and also constantly mentioned in lectures, design is a non-linear process, and the process of making is definitely contributing to this. As we made models and protoypes, we discover problems as well as find solutions. Sometimes we came across solutions that were better than what we originally set out to do.

Digitally fabricating our joints was a key aspect of our design process as we managed to create joints with a clean finish and which were relatively easy to assemble and disassemble. This gave us a lot of flexibility as we worked on the overall form of our design in later stages. Therefore, digital fabrication and the making process are definitely important and helpful aspects within the design proecess and towards the design outcome as well.

Digital fabrication was the solution to our joints. The inital incised straw idea was effective but had limits in terms of aesthetics as it was hard to achieve a clean fold. Our digitally fabricated joints however posed no such issue.

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Prototype development

Following up on our design development, we felt that the cubes used before (~200x200x200mm) were much too large.

We decided to half the dimensions of each side of the cube and this is actually similar to our suggested dimensions from Module 2 (9.6x9.6x9.6mm).

These dimensions will be more effective in playing the role of a pixelated personal space.

FRONT VIEW

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SIDE VIEW

Progressing from the ring around the neck to the extensions that flow down and creates a second skin for Derek.

FRONT VIEW

SIDE VIEW

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Alternating connections for the front extensions and linear cpnnections for the back.

Linear connections throughout and overall effect with full length side extensions.

We played around with the forms and connections to explore different ways that the cubes can fold and unfold. We put a limit on ourselves but we aimed to create a design that will be the most effective way in delivering our final project.

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Prototype optimisation

Folded form of design

We aim to represent personal space as a non-static matter and that it changes depending on the situation. Hence, we came up with the idea of the ‘personal space map’ design unfolding from a unified cube design. This would also serve as an impact especially during presentation time or for the final filming.

Unfolding of cubes

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Front and back extensions

We experimented with different folding patterns, first joining edges with masking tape to allow for easy unassemblage.

We tried assembling all at the same sides as well as alternating at other sides.

Our final design incorporates the assemblage with alternates (as shown on the left) for the front and back extensions, but liner assemblage for the side extensions.

This was also suited for the extensions to fold back into a cube.

FRONT VIEW

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SIDE VIEW

Side extensions

This is the linear assemblage for the extensions that will unfold from the right and left sides when worn.

The diagrams show how they fold into components of the larger cube and how it will fall out into extensions as well.

When we were happy with the folding patterns, we connected the cubes by sewing them accordingly to how we wanted them to fold and unfold.

Folded side extension

Unfolding of extension

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Making use of strings

Other than connecting the cubes in fashion to how they fold up, we incorporated strings to denote areas of higher sensitivity .

When design is unfolded

This relates to the ‘opacity’ idea we explored in Module 2. The upper region will have a higher density of strings signifying the more sensitive chest areas.

As we move down the use of strings will decrease and through this, we hope to further exude a sense of movement and dynamism through our design.

When design is folded into bigger cube and the edges meet

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2nd Skin final design

Folded version of design

FRONT VIEW

SIDE VIEW

Starting from a large cube made up of 64 smaller and separate cubes, our design will unfold into a depiction of Derek’s personal space. The ideas of flexibility and change fuelled the design process and this is how we allow a once rigid and static design to conform to the human body.

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Rhino model of final design

FRONT VIEW

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SIDE VIEW

AXONOMETRIC

PLAN VIEW

Assemblage of cube

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Unfolding of extensions

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Fabrication sequence

Laser cutting our joints out of polypropolene

We made small holes at each end of the

We assembled 64 cubes with straws measuring

The 64 individual cubes

sheets mark the start of the fabrication of

joints’ arms to allow for thread to string

100mm in length, incorporating our poly-

create a bigger cube when

through later.

propolene joints.

assembled together.

our final 2nd skin project.

The creation of the final form

Extensions were added to depict

Side extension were added, creating

We threaded more strings for the

Final design with strings incorporated

started with a ring of cubes

a pixellated personal space.

the full volume of our design.

additional emotive effects.

to show areas of higher and less

around the neck area.

sensitivity.

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References

Hrustic, A. (2010). Plato’s Collection. Retrieved from www.dezeen.com/2010/11/23/platos/collection/by/amila/hrustic

Iwamoto, L. (2009). Digital Fabrications. New York, USA: Princeton Architectural Press.

Kolarevic, B. (2003). Design + Manufacturing. London, UK: Spon Press

Lundgren, M. (2012). The Cube. Retrieved from www.lanciatrendvisions.com/en/article/the-cube-by-mine-lundgren-adialogue-between-body-and-geometry

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