DIGITAL DESIGN + FABRICATION SM1, 2017 M3 JOURNAL - DOME DISTURB Caroline Lee, Jessica Lourens, Riya Vats 833968 ,812945, 841178 Matthew Greenwood + 8E
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Introduction After M2 presentation, our group decided to implement various suggestions given and work on the problems we faced. To work on the feedback provided, we decided to keep our structure stable instead of making it movable. From movement our focus shifted to testing the lighting effects. Another issue to be dealt with was that our M2 structure was supported by another surface (table). Hence we decided to make some alternations in the shape to make it a self supporting structure.
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Design development
REDEVELOPING FORM Before redeveloping our previous model, we wanted to explore the structural support of the model first. To make the structure self supporting, we decided to use shoulders which can provide the supportive base. We considered creating an organic form for the design itself but still decided to cooporate the initial shape of dome.The shape of the structure will have to be adjusted so that it can sit on the shoulders of the body and not collapse.
sits on soulder
PATTERN DECONSTRUCTION We initially started by using origami techniques in M2. Since we folded our prototypes in M2 manually by hand, it was very flexible. However, when we tried to put our desired pattern on Rhino , it failed to unroll successfully which led to us dropping that pattern. We then moved forward by using a 2D Pattern instead of 3D. Our group still wanted to use the gradually changing patterns as we thought it is crucial for the lighting purposes so we incorporated it in our design.
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Design development + Fabrication of Prototype V.2
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ELEVATION with model
PERSPECTIVE with model
ELEVATION
PERSPECTIVE
TOP with model
TOP
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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? The digital fabrication processes that are commonly used are: - CNC milling: solid forms are cut out through a miller instructed by codes done on the computer. - 3D printing (FDM): a three-dimensional form is created by printing its cross-sectional surfaces with melted plastic filaments. - Laser cutting (plasma-arc): A template made of lines is precisely cut out through the use of highly heated laser beams.
CNC Milling
Laser Cutting
3D Printing 6
In terms of our digital fabrication process, we started off by creating the template of our second skin for laser cutting. Firstly, we used "Unrolled" command in Rhino to "translate" each individual three-dimensional solids into two-dimensional flat surfaces. We then used the "Create2D" command to get the lines that defined each of the individual surfaces into a template for laser cutting. We used a combination of cut lines (black), scored lines (red) and dotted lines (black) on the template to experiment with the effects created through folding. This was a fast way to produce precise pieces to be cut out for the assembly of our physical models. We had also numbered each individual pieces so that we would conveniently assemble each components in an orderly manner to form our second skin. Once our template was cut out, we folded each components and started the assembly stage by glueing them to one another with the reference to our Rhino model.
Reading applied to design How does the fabrication process and strategy effect your second skin project?
The design of our second skin has influenced Ma inlay by its fabrication process. Throughout the whole process, we kept thinking about how we could construct our second skin physically: by folding the whole form completely or by folding each component and sticking them to one another. In the end, we came out with the method of sticking each component to one another because we could make a more organic and free-flowing form best with it. Making our second skin using Rhino allowed us to look at our model three-dimensionally, design and develop it according to the human body with the template provided to us. This allowed us to modify sections of the overall form without having to worry about the actual physical model will look in the end. Using laser cutting technique helped us to abstain each of our surfaces precisely cut out in a little amount of time. Once our template was printed, we could fold all the scored and cut lines easily without having to damage the material used. This allowed us to obtain clean and neat surfaces for our physical model. After that, we glued each flaps and sticked them to one another in an orderly manner to create our final organically formed second skin. Thus, this allowed us to wear the second skin on ourselves in order to experience the effects that it creates.
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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?
When doing the architectural process, from designing to constructing, the use of computer is crucial. This called digital fabrication, where the final stages of architectural process that using the digital data to control the fabrication process and sometimes potentials and limitations are often happen. There are a few shift that using digital fabrication from design to fabrication itself, including sectioning, tessellation and folding. As our group’s material system is panel and folding, the folding aspect will be discussed further. FOLDING - means creating a three-dimensional form from flat surface that could be use for self-supporting systems. This self-supporting systems are affected by stiffness and rigidity and folding brings. With the support from digital methods, Rhino, it enables the digital model being unrolled so can be fabricated.
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Reading applied to design Referencing from the lectures and readings, what is the implication of digital fabrication on your design ? point attractor
Through digital process, our group utilized point attractors, in order to give variations on our design. It helped to only focus on the certain point so it could create a gradually changing sizes for the pattern. As the benefit of it, we could improve the performance of the design through the appearance as well as the lighting aspect that we took as major consideration in our design. Our prototypes was passing trials and errors when doing the digital fabrication, as sometimes the results that we wanted from laser cut did not achieve our expectations (Iwamoto, 2009). For example, we did not know the difference between etch and cut when we did the laser cut templates and just put all our works in cut, which in the end, it was hard to be folded. At first, we did struggle with the structural supports of our design so we tried to explore it. We wanted our design is self-supported and by that, we thought to attached it on the head and shoulder.
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Prototype Development
When we started our fabrication, we realised our model is organic-dome shape so defenitely would be difficult to fold. As we considered using flexible materials such as papers, the pattern design is also one of the major influence in the model. As being mentioned above, we changed our model from 3d to 2d design. Working with 2d design in laser cutting was easier but also tricky as we did not how to fold the model. Moreover, the initial pattern was flat-squared surface with different sizes of holes - for the lighting purposes.
During our brainstorming, we came out with several ideas. We decided to divide the model into per pieces of patterns and put flaps on each sides. With the existence of flaps, we can fold and attach it into one and anothers, without worrying about the organic-dome shape that we have. We also considered the size of the patterns as well as the flaps, regarding it has to be wide enough to be glued and strong enough to support the model.
4 cm FLAPS - for structucal support purposes
4 cm
2 cm
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Prototype optimisation: Fabrication
When we wanted to do the laser cutting, the model could not be unrolled in rhino, so we overcame the problem by unroll the pattern one by one. That was also gave us benefits where we should use glue to attach the pieces from one to another, which resulted into more stable model. Stronger structural supports from the flaps was also helped the stability of the model.
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Prototype optimisation: Light
ATTEMPT OF EXPLORING PATTERNS Considering the lighting purposes, we explored several different shapes for the of pattern. We wanted to try different lighting effects that could be shown in the different shapes of patterns. These holes on the middle of the patterns will helping light to enter the inside model. Square-based shape will become the chosen one as we considering it will provide greater source of light. Where the light will come from left direction, greater size of holes will be faced into it.
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SIZE OF HOLES The different size of holes will be adjusted to the lighting focus - which is on our case, more on the left side. The left pic will be faced to the lighting source and the size of holes will be gradually changing into smaller size as it will also give privacy.
13 Shadow formed by the structure
Prototype optimisation: Materials
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1ST ATTEMPT: POLYPROPYLENE (600X600MM)
2ND ATTEMPT: OPTIX CARDBOARD BLACK (300GSM)
We initially decided to use clear Polypropylene Sheet as our material as we assumed it will create a nice lighting effect and its transperency will add uniqueness to our structure. We sent our design to be Fabrication Lab for laser cutting on a 600x600 polypropylene sheet. However when we got our sheets and tried folding it along the dotted lines, the material created alot of difficulties in folding to create the patterns we initially desired. The material was not as flexible as we had expected it to be and wecould not continue our structure with this material.
Afer the experiment with polypropylene did not work, we decided to use thinner material. The reason we chose optix cardboard back, not only to explore the different materials, but also wanted to explore different use of material’s colors as well. When our group assembled the model, the material was easy to work with, though we doubted the black color. As our focus is on the lighting, black is not the best color to combine with. The interior was dark so we decided to try different material - though, we also ever thought to stick with this material and tried to use some lights to enlight the interior.
3RD ATTEMPT: IVORY CARD (290GSM) For the thrid attempt, we tried using ivory card as the material and it ended up nicely. As ivory card is thinner comparing to optix card and polypropolyne, it was much easier to hold but also is vulnerable to fracture. However, the assemble process was showing ivory is easier to bend, comparing to the others. As the white color supports our idea in lighting, we decided to use ivory as our final design.
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2nd Skin final design
ELEVATION
PERSPECTIVE 1
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PERSPECTIVE 2
PERSONAL SPACE REFLECTION Our Second Skin model is a large alternation to a dome that sits on the shoulder of the person and covers the front and back of the face. The model was created to protect the personal space of a person while giving an examination. The face was the area of focus. The structure helps to isolate the person from the other distractions around the examination room. The patterns and holes in the structure represent a cage like barrier, which helps in warding off potential disturbeances. Since lighting is a very important aspect, holes of certain shape and size are cut at certain points in the structure to creating a lighting effect. The colour white is a calming colour which helps in concentration level and was hence used in our structure.
FINAL PROTOTYPE
Joined the two ends making it a circular shape on one end
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Fabrication sequence 1
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FINAL
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Assembly Drawing
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Testing Effects
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Pictures showing where the light source coming from which is left and the interior of the model, when its being worn.
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2nd Skin
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Appendix Digital Fabrications: architectural + material techniques/Lisa Iwamoto. New York: Princeton Architectural Press c2009 Architecture in the Digital Age - Design + Manufacturing/ Branko Kolarevic, Spon Press, London c2003
Attempt to try different patterns to be put on the structure
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Failed attempt of fabrication using MDF