DIGITAL DESIGN + FABRICATION SM1, 2017 M3 JOURNAL - METAMORPHOSIS
Joshua Castan Blashki, Yan Ching Joyce Leung, Sean Chung (697827, 796230, 911221) Lyle Talbot + Group #10
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Introduction >>Personal Space
The images show that our group member, Sean, is sensitive around his neck region, and also around his back where he is blinded to. In the previous module, we produced a design that utilised shape as a basis to represent commonly associated emotions such as comfort with our chest, and the defensive, insecure feelings associated with our backs. 2
>>M2 Rhino Model
>>M2 Prototypes From module 2, we created different prototypes to explore the base geometry of our model and also various patterns in order to achieve emotional effects and the idea of incorporating different patterns to change the feelings another perceives.
As we produced a 1:1 base geometry prototype, we could have a sense how our design actually worked and how well it sitted on Sean’s body and so on. As a result, in this module, we aim to create a 1:1 final prototype to test out various effects before our final model, to ensure nothing goes wrong in our final 2nd skin model.
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Design -- Sketches and Concepts
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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: a) Two-dimensional fabrication b) Subtractive fabrication c) Additive fabrication d) Formative fabrication Predominantly in our 2nd skin project, we adopted the two-dimensional fabrication. Throughout module 2 and 3, our team explored the practices and theories behind creativity and imagination, and commencing the prototyping process by the end of M2. The theme explained, especially in week 7 lecture and in Kolarevic’s reading, highlights the direct link between conception and production digital software allows. We used the laser cutter for the development of individual pieces, using the rhino model as a template, grasshopper helped us section and profile the design, which was then arrayed over a 900mmx600mm sheet of timber. We then laser cutted each piece and manually glued them together then built it together to give us our three-dimensional prototype for accuracy and precision.
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Reading applied to Design How does the fabrication process and strategy effect your second skin project?
Our design project focused heavily upon the use of Rhino generated 3D models which were then lasercutted, allowing us to achieve precision and uniformity and saving us a lot of time. The use of this technology enabled rapid prototyping of individual pieces for a quick turnaround in testing ideas and adjusting measurements to produce a working file with the minimum amount of wasted materials. We created batch runs that otherwise would require a high level of skill and large amount of money. In addition, the restrictions of material for the lasercutter helped us learn the properties of them. We eventually chose the plywood that would support our design and would not collapse itself. Plywood is strong and broadened our design scope as we could potentially add to our design and it would not be a problem. In testing, the application of all sorts of patterns onto pieces was made especially easy with the laser cutting technology. Rhino enabled us direct access to the different forms of fabrication in the FabLab. The use of laser cutting means that the work is reproducible solely from the digital files and any part can be edited and revised if the need arises.
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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?
The rise of digital technology has changed the way from design to fabrication. Computer-aided design and manufacturing (CAD/CAM) can be used to create prototypes precisely and quickly. Softwares, like AutoCAD, can be used to draw the designs as well as the dimensions we want, thus we can test out the effects of the prototypes. After the design process, the digital models can then be sent to different cutting machines, for instance, laser cutters, CNC routers, water-jet and plasma cutters, to produce physical models from computerised datas. Also, there is a great advantage of using CAD is that we can create and test our designs in different softwares before fabrication and thus time and costs can be saved. Sometimes if we want to optimise our old designs, we can just open the old files to edit, which accelerates the pace of the design and fabrication processes.
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Reading applied to Design Referencing from the lectures and readings, what is the implication of digital fabrication on your design ?
According to the lectures and this reading, CAD can be used to create complex geometries accurately so that we can test out their performance which contributed a lot to our design. Our design involves the ideas of torsional joints and patternings, which requires precise cuts on the pieces in order to get the effects we want. For example, the torsional joints can twist but can still remain stable that do not collapse themselves at the same time; also, the patterns can be made the exact shapes we want on different pieces of the model.
Torsional Joints
With the help of Rhino and lasercutting technology, we can design and fabricate what we actually want accurately, which we can hardly do them by hands.
Patterning 8
Prototype Development-- Pattern Exploration Prototype #1 Circular Patterning
Prototype #2 Rectangular Patterning
Prototype #3 Triangular Patterning
Prototype #4 Irregular Patterning
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Inspired by this precedent, we discovered that we can play with patterning in order to make a more complex model and create visual experiences to people. By adopting patterns, we aim to represent welcoming in the chest area where we are less sensitive, this idea touches on the sense closeness, denoted by decreasing material between two individuals. The pattern will cease as areas of higher sensitivity are approached. As a result, we made totally four prototypes, four different patterns, for testing the effects. Ichii Renovation by Hideki Tamura
However, making patterns or holes on the pieces will somehow affect the ability of bearing loads, which may leads to structural problems. Also, we finally found that creating patterns on the pieces does not actually give a sense of closeness. As a result, we gave up this idea at the end. 10
Prototype Optimisation-- Torsional Joints During the testing phase of our 2nd skin project, we manipulated particular features to enhance visual effects and create complexity. After consultations with our tutor, Lyle, we decided upon an idea to add torsional joints to our project. By adopting a specific cutting pattern to our pieces, we can effectively twist and turn the piece in multiple directions until strained. This design ties in to the overall emotions elicited. It effectively gives a smoothing feeling to our pieces at the front and jagged edges flopping around the back for defense. The long strand extending at the front would attach to itself along the spine, functioning as a join.
Conceptual Sketches
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>>Finding the right joint density Prototype #5 Initially we cut out the extra lengths with widths 9mm between each cut along.
Conceptual Sketch Not surprised, our first testing run had problems, as it snapped when trying to twist 90 degrees and turn down to connect the join. Prototype #6 Nevertheless we produced another central spine piece, with 2mm wide cuts.
Conceptual Sketch
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However we were quick to realise this new strand it was too flexible and also long, as it dangled from side to side and was extremely difficult to stay in place. A modification of this by removing the repeating cuts in small blocks also wasn’t ideal, and did not fix problem.
Prototype #7 Finally with the advice of our tutor, the long extended piece was shortened and adapted a gradual change in density of the cuts and works perfectly.
Flexibility
Conceptual Sketch
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>>The tail Prototype #8 Aiming to enhance the complexity of our 2nd skin project further, we extended the spinal columns with a flame like extrusion with spiky edges. This part also uses the torsional joint so our whole model appears to be lifelike when it is waving. Conceptual Sketch
Prototype #9 Rather than laser cutting a jagged shape, it was a better idea to cut one piece into individual arms after discussing with our tutor. With each separate representing a cut, we essentially allowed flaps to shift left or right freely or join together to form a block when we turn our back with the model. Once again this structure utilising a gradual change and denser torsional cuts for maximal sensory effect. 14
Conceptual Sketch
Prototype Optimisation-- Material Usage Originally in Module 2, our prototype was made up of three copies of 3mm plywood which were manually stuck together before building.
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The whole model proved to be too heavy and unnecessarily bulky, therefore in this stage we opted for just one piece of 2.7mm thick luna plywood which not only largely reduces the workload of gluing boards together, but also saves material and costs. 16
2nd Skin Final Design
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Laser Cutting -- Nesting
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Fabrication Sequence
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Assembly Drawing
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2nd Skin
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