Module 4 joshua blashki 697827

DIGITAL DESIGN + FABRICATION SM1 2017

METAMORPHOSES

Joshua C. Blashki - 697827 Tutor: Lyle Talbot - Group: #10

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0.0 Introduction

METAMORPHOSIS This project explores personal space through a number of lenses and technical processes.

Exploring the human spatial experience, this project uses metaphoric language and animalistic symbolism to represent the dynamic and changing need for distance, defence and attraction. Delving into the fabrication method of section and profiling, this project utilized grasshopper to generate a waffle grid system of construction and laser cutting to create pieces which could be assembled. This project then explored the material possibilities of plywood, using different methods to create flexibility. Ultimately various patterns were trialed to create pieces of timber which could flex in multiple directions and act as torsional joints.

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1.0 IDEATION

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Process Description SECTION AND PROFILING - KANGAROO MODEL The object was manually measured using a standard 30cm ruler. I was able to scan the object at a 1:1 scale.

Images were produced by tracing each element on Adobe Illustrator. This method was used to create a plan, section and elevation. The model itself is fabricated from flat planes which intersect at perpendicular angles to each other. The waffle interconnecting system creates a rigid structure.

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3D MODEL

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Sketch Model RECONFIGURED MODEL Abstract rearangement of pieces creates dynamic structure which extends in many directions. This demonstrates the possibility to create complex geometries using a section and profiling fabrication system.

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Sketch Design #1 FORCEFIELD / PROTECTION / INSULATION / APERTURE / JAGGED This body armour physically extends the parameters of ones personal human form, thus, indicating to other people that the wearer requires a broader physical footprint than ordinarily assumed. The circular nature of the armour is symbolic of an organic shape and the individual vertical elements are symbolic of traditional shields. The irregular shapes are a jagged symbolically representing danger.

Sketch Design #2

EXTENSION / CURVED / UNILATERAL / CONCAVE / METAMORPHASIS This body armour is sculptural in nature. The concave facade is somewhat like a trumpet indicating a two-way exchange of dialogue. It vertical extension emphasises the personal space boundaries required. As the structure morphs from the front to the back it implies the different sensations and needs for space the user experiences.

Sketch Design #3

EXTENSION / GEOMETRIC / DEFENSIVE / POINTED / OUTREACH

The asymetrical nature of this body armour leaves the observer uncertain of whether to enter the space or retreat. While from some perspectives there are openings, others have jagged and sharp angles warning the viewer to step away.

The emphasised spikes on the back suggest a need for protection and safety as the user cannot see what is behind him/her. The extended arm at the front implies an invitation where the entering person can be viewed.

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2.0 DESIGN - JOSH, SEAN, JOYCE

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2.1 - Design Development Intro At this stage of the design process focused on exploring the human spatial experience, using metaphoric language and animalistic symbolism to represent the dynamic and changing need for distance, defence and attraction.

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INITIAL SKETCH CONCEPT

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Ichii Renovation

by Hideki Tamura Inspired by this precedent, we discovered that we can play with patterning in order to make a more complex model and create visual experience to people. We thought that making some patterns on the pieces of the model can welcome people in the front. As a result, we made totally four prototypes, four different patterns, for testing the effects.

However, making patterns or holes on the pieces will somehow affect the ability of bearing loads, which may leads to structural problem. Also, we finally found that creating patterns on the pieces does not actually give a sense of welcoming.

As a result, we gave up this idea at the end.

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EXPLORATION OF PATERNING

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EFFECTS TESTING

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TORSIONAL JOINT

During the testing phase of our 2nd skin project, we manipulated particular features to enhance visual effects and create complexity.

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Fill in the following details: Material : Luan Plywood Thickness : 2.7mm

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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.

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4.0 REFLECTION

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For me, Digital Design and Fabrication allowed me to explore the bridge between the imagination, sculpture and the real world. Through the design process we are able to explore the way we operate within in our environment, through form and space in relation to our sense of personal space. As a musician, I tend to use design as an expressive tool. Thus, I tend to explore the poetic and sculptural potential to imbue architecture and design with symbolic meaning. It is my view that human touch, anatomical flow and spontaneous energy creates a more meaningful architecture than that driven by rules, strict parameters or algorithms. Nevertheless, this subject enabled me to recognize the incredible power of computation and digital fabrication processes in the generation of forms and the future of design.

Throughout module 2 and 3, our team explored the practices and theories behind physical expressions and manifestations of personal space. We commenced the prototyping process by the end of M2 process. The theme explained, especially in week 7 lecture and in Kolarevic’s reading, highlights the direct link between conception and production digital software allows. This is the process we underwent as a team as we progressed from Module 2 to Module 3.

In terms of technical processes and physical prototyping, 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 cut each piece and manually glued them together then built it together to give us our three-dimensional prototype for accuracy and precision. Our design project focused heavily upon the use of Rhino generated 3D models which were then laser cut, 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 laser-cuter 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 mean that the work is reproducible solely from the digital files and any part can be edited and revised if the need arises. Furthermore, the use of digital technologies enables the creation of more complex forms are geometries than what we could have otherwise achieved. Our design involves the ideas of torsional joints and patterning, which requires precise cuts on the pieces in order to get the effects we want. For example, the torsional joints can twist but still remain stable that do not collapse; the patterns can be made the exact shapes we want on different pieces of the model. With the help of Rhino and laser cutting technology, we can design and fabricate what we actually want accurately, which we can hardly do them by hands.

The rise of digital technology has changed the process designers use to go from design to fabrication. This subject allowed me to see the potential of design given the power of modern modelling and fabrication technology.

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5.0 APPENDIX

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BIBLIOGRAPHY Enric Miralles,Carme croissant”

Pinos, 1988/1991,

El Croquis 49/50 Enric Miralles, Construccion pp 240‐241

“How to

lay

out

a

Carme Pinos, En

Heath, A., Heath, D., & Jensen, A. (2000).

300 years of industrial design : function, form, technique, 1700‐ 2000 / Adrian Heath, Ditte Heath, Aage Lund Jensen. New York : Watson‐Guptill.

Cheng, R. Park, NY :

2008. Inside Rhinoceros 4 / Ron K.C. Cheng.

Thomson/Delmar Learning, c2008.

Sommer, Robert

R.

1969. Personal space : the behavioral basis of design /

Sommer.

Englewood Cliffs, N.J. :

Prentice‐Hall,

Scheurer, F. and Stehling, H. _2011_: Parameter Space?

IAD: Architectural Design, _4_, July, pp. 70‐79

Clifton

c1969.A

Lost in Wiley, 81

Asperl et al, 2007,Surfaces that can be built from paper / In H.Pottmann, A.Asperl,M.Hofer, A.Kilian (eds) Architectural Geometry, p534‐561, Bentley Institute Press Kolarevic, B 2003, Architecture and Manufacturing /Branko

in the Kolarevic.

Digital Age ‐ Design Spon Press, London

Marble, S, 2008. Building the Future: Recasting Labor in Architecture/ Philip Bernstein, Peggy Deamer.

Princeton Architectural Press. pp 38‐42 34