DIGITAL DESIGN + FABRICATION SM1, 2017 THE WEAVE SKIN De Lester Wong (796461) Joshua Russo
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0.0 INTRODUCTION The main idea was to address personal space by creating a ‘second skin’. Analysing the area of the body is deemed personal and preferrably not to be approached by others. The ways we can define this personal space. The process of realising a project, from precedents, to design development, to fabrication development, making full use of digital design and fabrication techniques. Using Rhinoceros 5 as main 3D digital modeling software to come up with design that could not be achieved prior to advancement in computer technology, and break it down into constructable parts. Using laser cut to fabricate unique and individual pieces to the highest presicion, creating craft like no other.
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1.0 IDEATION OBJECT A rocket formed by using the SECTION AND PROFILE system.
I measured and recorded the diameter of each horizontal ring using a ruler. I then observed the rocket horizontally and carefully, and sketched out the curve profile of the rocket. For the part B, I placed the rocket on my table against the wall. I then placed the ruler on the peak of part B, horizontally and I taped it to the wall. I made a mark on the wall and measured the height from the table to the mark using a ruler. I did the same process for the overall height of the rocket, the connection of part B to the main body and the distance apart between the horizontal rings.
Rocket model
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How the object was measured
ANALYSIS Notching
The rocket’s volumetric shape is formed by notching flat pieces at perpendicular axis. All notches cut into each of the vertical pieces are parallel to each other. This ensures all horizontal pieces stay horizontal throughout the height of the rocket and does not affect the other pieces’ orientation.
system holding the pieces and shape together
The horizontal rings changes in diameter throughout the height , in relation to the curved profile of the rocket. The hollw part in between the pieces saves on material and weight, which makes it stronger as it carries less of its own weight. The rocket is made out of 3mm thick MDF (medium density fibreboard) pieces. It is rigid enough to hold its shape without crumbling down upon its own weight and force applied from other pieces, providing structural stability. The notches does not affect its strength.
Measured drawings
The top and outside curve of part B has to be broken down to ease assembly. There are three part B located at the tips of an equilateral triangle in plan. This ensures the rocket is balanced enough to stand on its own.
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RHINO 3D MODEL
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RECONFIGURED MATERIAL SYSTEM
Top view
Highlighted green are the pieces from the model I used as a reference point for my reconfigured model. I find it interesting as the individual pieces have different shape. When combined together, they create interesting forms and allows the volume to extend at different axis. The notches itself are not necessarily perpendicular, hence the piece are able to go at different and intended direction.
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SKETCH DESIGN PROPOSAL
Sketch Design 1
Sketch Design 2
Sketch Design 3
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Like clouds, despite not truely solid, it defines volume and occupies space. I took advantage of the notches and its ability to create cantilevered pieces. This makes the piece look fragile and discourages people to apporach me.
For this I have gaps in between vertical pieces. This gives others an impression like pillars or jailbars where they can’t penetrate, hence avoid. It covers over my head and ribs at the back to provide protection.
I want to prevent hostile towards my personal space with minimum resistance. I would prefer more personal space from my waist down, hence the front pieces increase in width as it progresses down the body from the head. It extends forward and backward to prevent people coming too close to me.
M1 REFLECTION Analysing the system that makes this rocket works. Despite attached at right angles, the pieces are able to achieve a curved form. Based on the information and knowledge gained and taking advantange of the factors that make this work, I was able to create something new. I realised that what I was doing here was extracting the idea from a precedent and apply it to design. This is the beginning stage of a design process. The reconfigured object’s main objective was translating idea. For the sketch design, using the rocket’s principles and idea from the reconfigured object, I started to apply towards the personal space agenda. This is like the beginning stage of addressing the brief.
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2.0 DESIGN Thai Quang Bui Xiaojin (Georgia) Huang De Lester Wong
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DESIGN DEVELOPMENT INTRO
The idea of the shoulder is being brought forward. Having the second skin sitting on the shoulder and defining the personal space at the area. Also the idea of wrapping around the shoulder and neck is being brought forward. From previous M1 objects, we intergrate the second skin idea with our object idea and design the second skin in detail, focusing on translating the idea into form.
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PERSONAL SPACE ANALYSIS
We decided to address the idea of a second skin with a design that responses to the idea of personal space in a very specific situation. Based on personal experience, our design focuses on an area of the body where spatial invasions happen quite often, which is the shoulder.
Often we are approached by someone who would greet us by throwing an arm across our back and shoulder. It is a friendly gesture but it makes us fee uncomfortable, hence we want to create a second skin that avoids that situation.
To cater the need of such personal space, concepts of protective, edgy, abstract and quirky is considered.
Personal space
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DRAWING IDEAS FROM OBJECT
PANEL & FOLD
Paper Lantern
OBJECT
SYSTEM
Our group consists of two different type of systems. The issue here is how to create a design that includes both system to address the second skin that defines our personal space. Combining our individual analysis on our object, we extracted the main idea that defines our system. Then we work our way to use both of them to come up with designs.
SECTION & PROFILE
Laser cut Rocket
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DRAWING FIRST IDEA FROM OBJECT
We extracted a part of the paper lantern, created 4 different cells from it. We then use the connection concept of the rocket to connect the cells together and to create volume that defines our personal space.
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DESIGN PROPOSAL V1.1
We focused on the geometric aspects of the four small folded cells and the interactions between them.
Using the cells as a module and keeping the idea of sharp, edgy and free-form, we repeated and controlled the four types of cell and refined the composition to create a protective design. When others see this second skin, it would prevent others from touching it as it looks sharp and hostile.
The structure is consist of two main parts: the seven arms wrapping around the shoulder/arm/neck acting as a second skin, and the pentagon shield at the shoulder joint connecting all the arms.
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DRAWING SECOND IDEA FROM OBJECT
The paper lantern was splitted horizontally in three. The middle section was used to experiment on the forms by using the twisting technique. Each layer of the model curves in its own unique ways, with most of them curving in two perpendicular directions. Having different layers stack up together creates volume, similar to the idea of the rocket.
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Stacking the different layers to create a larger volume on the vertical axis.
DESIGN PROPOSAL V1.2
Front
Perspective Back
After doing experiments with the honeycomb lantern, we were very interested in the possibility of creating volume and dimension when utilising the rotations to create the form. Therefore, the structure of the design allows a lot of modifi cations, which allow us to form various patterns and layers in order to emphasise on the unusual and randomness aspects.
As a whole, the composition is made out of five complex curved surfaces with different sizes, different amplitudes and transparency levels, covering the shoulder/arm/ neck, acting as a second skin that focuses on the criteria of visually discouraging to avoid interactions.
We saw this distincitive characteristic as another possible way of pronouncing the eccentric idea of the second skin concept around the arm. We wanted to improve this form into something that looks more bizzare. Top
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PRECEDENT RESEARCH
Digital Weave was designed for the San Francisco Museum of Modern Art Contemporary Extension. Because the project was constructed to be showcased for one night only, it had to be installed and uninstalled on-site in a matter of hours. Therefore, the design engages in constructional and material investigations for such a transitory condition. It can be described as a concertina-like structure that can be compressed to a fraction of the full size.
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Digital Weave Iwamotoscott Architecture (2004)
A series of woven ribs, riveted together by aluminum plates and sandwiched around an inexpensive translucent corrugated plastic sign material. They slot into the plywood floor, forming two semienclosed wrapped volumes in the interior of the museum. The main reason why we find Digital Weave inspirational to our design is because the structure successfully delivers the desire of creating an atmosphere larger than the installation space, which is a strategy that satisfied our respond to personal space. Even though the ribs were all fabricated digitally to a very high precision, they can be represented quite simply through familiar paper-like materials.
developing this idea thorugh introducing colour and buidling more layers on top of the existing object.
PRECEDENT APPLIED TO DESIGN After exploring with different designs and researching on precedents, we chose to further develop design V1.2 over design V1.1. By this time we found the main idea that we wanted to focus on. DISCOURAGE
Our aim for this task was form curves without bending the actual object. Influenced by our design proposal V1.2 we saw the possible development of this idea for our design. The possiblility of creating folds and creating volume of space with small amount of material. The object was assembled together using flat and cut curved panels of various size. They are joined together using staples, which we thought at the time worked compatible with the paper material we used. However, thorugh the group’s discussion a stronger form of material should be applied to create a larger surface, that is more stuitable to be attached to the arm. Relating to the second skin concept that was focused, the prominent pattern and transparent aesthetics of the created object correlated to our focused idea of building a discourage and quirky look. The group plans on further developing this idea thorugh introducing colour and buidling more layers on top of the existing object.
As the gesture of throwing an arm over someone could be from a friend, we did not want to scare off everyone by giving them a hostile first impression. We just want to discourage them from getting to close.
Keywords from Precedent: Curved Surface Transparency Concertina Corrugated
Our aim for this task was form curves withought bending the actual object. Influenced by our prototype we saw the possible development of this idea for our design. The possiblility of creating folds and creating volume of space with small amount of material. The object was assembled together using flat and cut curved panels of various size. They are joined together using staples, which we thought worked compatible with the paper material we used. The marerial selection was much more ductile than of the tissue paper we used in our refined model. However, thorugh the group’s discussion a stronger form of material should be applied to create a larger surface, that is more stuitable to be attached to the arm.
DISTURBING
PRECEDENT APPLIED TO DESIGN
QUIRKY
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Relating to the second skin concept that was focused, the prominent pattern and transparent aesthetics of the created object correlated to our focused idea of building a discouraging and quirky look. The group plans on further developing this idea thorugh introducing colour and buidling more layers on top of the existing object.
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DESIGN PROPOSAL V2 Digital 3D Modeling Process Section lines of our shape is formed.
The lines are lofted to create a double curved surface. This surface is the general and simplified shape of our intended shape and is used as a base.
ptGridDomainNumber command is used to create a grid of points. Then the grid points are offset using the command ptOffsetGrid. This creates a grid on each side of surface for placement of 3D custom shape onto it.
Custom shape is chosen to attach onto surface using the grids as guide. This gives limited transparency of the wearer. At different perspectives, it confuses the view of other people, discourages them to approach the user.
The base surface and grid points are removed. Then the length of the strip is varied to create a more corrugated edge. Multiple of these surfaces are stacked above each other. The openings do not align, creating more confusion for other viewers.
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Custom modular shape with holes in the surface to ease application of joint.
In this design the team depicts a pattern of progression of curviture in the design. As the model is closer towards the arm and the upper back area it is to be more curved and bent; drawing a wider boundary for the concept of the second skin.
Front
Perspective
Back
Like section and profiling, it uses few members to define its general profile or shape. Visually it would be very confusing as the holes do not align, impairing other people’s vision on the wearer’s body. This makes them think twice when they want to tap on their shoulder. It is made up of curvy profiles instead of pointed shapes, hence seem less hostile and does not give a bad message to friends who might approach them.
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PROTOTYPE
TESTING MATERIAL PROPERTIES In order to determine the suitable material, we wanted to test out two types of materials that we perceived that they could achieve the form we want, which are polypropylene sheet and ivory card, to examine how they behave in reality, given its composite shape. From the Rhino model, we selected the joined surface, unrolled it and labeled/numbered the strips, and finally nested into fabrication lab’s laser-cut templates for each type of material. Initially, we intended to use bolts as the joining method which ensures strong connections. While actually prototyping, we decided to use staples to connect between members, as our focus was first to form its shape.
Ivory Card Ivory card 290GSM is thinner, weaker, lighter and therefore, allow more flexibility and less elasticity. They could be bent and folded quite easily and retain its shape. The whole structure lighter and more stable.
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Polypropylene 0.6mm Polypropylene strips are thicker, stronger, heavier and therefore, allow more elasticity. However, in order to create the intended form, folds needed to be made and polypropylene does not behave well when it is folded. Furthermore, as can be seen in the picture, the strips had a strong tendency to come back to their original shape when pulled, which can make the whole structure unstable.
We needed a material that we can bend and stretch and able to hold its shape, but strong enough to cantilever out instead of flopping down when the length of the strips are extended.
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TESTING EFFECTS To emphasise on the unusual and quirky characteristics of the design, we wanted to create additional external layer to the initial prototype. We considered colours and textures to test the ambient effect to the human eyes. Overuse and inappropriate choice of colours and textures could easily result in an opposite and undesirable outcome to what was intended, which is visual attraction.
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Therefore, we have chosen charcoal powder, which can be sprinkled unevenly on the glue-applied surface of the prototype. The combination of the black colour with the rough and raw texture really adapt with the quirky theme. Furthermore, we used black and grey acrylic paints to spray unevenly on the surface to serve as another layer that highlight the spontaneous aspect of the design
M2 REFLECTION We applied the idea of our object system into our design proposals for the second skin. I noticed that this process’ main objective is to evaluate and discover issues regarding to the personal space and translating idea into form. With known issues, we know what to look for in order to improve our design. This leads us to researching precedents, Digital Weave. We found out how the project utilises digital design and fabrication to make the design feasible to build. After researching on precedents, we found our main theme to focus on. This made me realise that we can learn a lot from precedents, and extracting information that could be useful for our design. During design proposal stages, we were unsure how to take advantage of the system to create a volume. After the precedent research, we had a clearer idea on a better way for weaves to create volume by taking advantage of its properties.
I realised that we designed up to a point where we are not even sure if any improvements would actually work in real life. We had some testings and small prototypes during early design phase to ensure it works as intended. Through these testings, we discovered the pros and cons of our intended design and made decision accordingly. For example, the charcoal powder used to create the quirky effect made the model messy. The issue has been discovered. From this we decided not to use charcoal powder and look for an alternate solution to provide the quirky effect. We know what to avoid, what works and what does not.
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3.0 FABRICATION Thai Quang Bui Xiaojin (Georgia) Huang De Lester Wong
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INTRODUCTION
FABRICATION INTRO
DETERMINED ASPECT The Pattern that has been created by the sections. Using different materials. Forming a disturbing pattern on the structure.
NEED TO BE DEVELOPED ASPECT Suggestion such as apply a clean structure is recommended, the idea of applying colour and texture should also be further explored. The group should also play with different materials and creating variation in the height of the connecting sections, as well the overall shape that evolves around the body. Improvements should also be considered for the type of connection. Instead of utilising staples other method should be tested and explored. For the look of staple is not visually pleasing, at times it seems like it does not blend with the overall design of the structure. The texture applied on to the prototype does create a disturbing effect, however, the model is not physically clean. The group needs to ďŹ nd another way to present this idea to fully express its concept.
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DESIGN DEVELOPMENT
Creating more volume on the surface of the layer, the aim is create an additional surface to convey the idea of disturbing effect from the irregularity of the form.
The group has decided to continue with the use of polypropylene in conjunction with ivory card. This was decided upon the properties recognised during the testing of materials in M2, where the materials performed differently to one another. Therefore, the group took these difference as a form of advantage to create a ďŹ rm yet exible structure. Ivory
Polypropylene
Ivory + Polypropylene The team has decided to remove the use of staples, replacing it with other form of joints. These joints include split pins and the system of weaving individual pieces through one another.
Joint System The second skin structure consists of layers of various size, the group has decided to test the idea of overlapping layers in different positions to create a unique pattern with dense sections which will change according to where it sits around the arm. More dense when it is closer to the arm, less dense when the structure is further away from the arm.
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DESIGN DEVELOPMENT + FABRICATION
DESIGN DEVELOPMENT + FABRICATION OF PROTOTYPE COLOUR AND PATTERN
COLOUR AND PATTERN
TOP LAYER (UPWARD CURVE)
The use of colour and patterns was The reason we applied this effect is because we want to convey viewers with The use of colour and patterns developed. Weapproach applied this to directions. convey viewers with distinct messages as they fromeffect different further developed. Perceiving from was one further Perceiving from one angle, an individual may only distinct messages as they approach from different angle an individual may only be able to The colour red was selected for it conveys the idea of an intense emotion. be able to perceive directions. perceive one shad of colourone (red shade in this of colour (red in this On hand, the other hand, of the shade of black is is very case), oncase). the other the shade The colour was selected it conveys idea The shade black, dull and itred is associated withas fear and thethe unknown blackvisible is visible from a different angle. from a different angle. From or thethe top view for of an intense emotion. negatives. Frominstance, the top view instance bothfor colours areboth visible, creating a dissimilar The shade black, is very dull and it is associated colour arefrom visible, creating dissimilar view different view point. with fear and the unknown or the negatives. view from different view point.
MIDDLE LAYER (SMALL UPWARD CURVE)
RED VIEW
BOTTOM LAYER (FLAT)
BLACK VIEW
LAYERS OVERLAPPING
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DESIGN DEVELOPMENT + FABRICATION
SIDE PROFILE
CLOSE UP VIEW
WAVE IVORYIVORY WAVE In this testing model, the group attempts to explore the idea of applying continuous curvature to the system, as well as small twisting rotation so that the curve lines are not parallel with one another.
RELATIONSHIP BETWEEN WAVES
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EDGE PROFILE (TWISTING OF DIFFERENT SECTIONS)
The material used for this speciďŹ c task was Ivory card, for the team want to acknowledge how ivory card performs individually with the waves applied.
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SIDE PROFILE
EDGE PROFILE
MATERIAL MIX MATERIAL MIX Maintaining the idea of using a curving surface on each layer, the team attempt to incorporate the characteristics of both ivory card and polypropylene to assist in the horizontal stretching. The polypropylene performs with high elasticity, allowing it to have a slim opening. This may be embed areas where adjacent areas to be stretched with a bigger opening. It also allows the whole structure to gain better rigidity.
TOP VIEW
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On the other hand, the ivory card chosen because it is ďŹ rmer than usual printing paper (high gsm). However, it has lower elasticity than polypropylene, hence able to retain its bent
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DESIGN DEVELOPMENT + FABRICATION
Split pins: These type of joint was easy to apply on both ivory card and polypropylene. We first cut an opening on the spot of the strip where we want to connect.
Glueing: Applying uhu glue onto ivory card was rather successful. The two pieces of ivory card held together firmly.
CONNECTIONS Weaving: This method consists of cutting two openings. The height of the openings are dependent on the width of the section that weaves through it
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The third part that the team focused on was the connections between individual sections. Connections between sections include the use of: - Split pins - Weaving - Gluing (Uhu Glue)
DETAILING ON RHINO LAYER 1
DETAILING ON RHINO
Previously the group used this module to for our structure. The Module shown here, uses a curved that is quite round. Realistically, it is very hard to maintain this kind of shape.
LAYER 2
BEFORE
LAYER 3
LAYER 4
AFTER
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Therefore, a developed module is designed. It is designed to truly reflect the possible that can be maintained.
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DESIGN DEVELOPMENT + FABRICATION
PERSPECTIVE
SIDE PROFILE
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TOP VIEW
DETAIL SHOT : CURVE ON SURFACE
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READING RESPONSE WEEK 6
Reading Response Week 6
Architecture in the Digital Age - Design + Manufacturing/ Branko Kolarevic, Spon Press, London c2003 Architecture in the Digital Age - Design + Manufacturing / Branko Kolarevic, Spon Press, London c2003
INCLUDE IMAGES FROM THE TEXT
Constructability of complex forms becomes a direct func�on of computability. Digital means are used not only in the case of representa�onal models but Constructability of complex forms becomes a direct function of computability. Digital alsomethods the fabrica� on and assembly process with a high degree of precision. are used not only in the case of representational models but also the fabrication �roduc� on processes are based on cu�ng, subtrac�ve, addi�ve and forma�ve. and assembly process with a high degree of precision. Production processes are based on cutting, subtractive, additive and formative.
Na�onal-Nederlanden Building (1996) Prague, Czech Republic - Frank Gehry: irregularly-shaped glass panels were cut using digitally-driven cu�ng machines.
��o�����n��on�� ���ng is the most commonly used technique that involves two axisTwo-dimensional mo�on of the sheet material. Depending on the proper�es and thicknesses of cutting is the most commonly used technique that involves two axis materials, diff erent techniques such as plasma-arc, laser-beam and water-jet are motion on a sheet material. Depending on the properties and thickness of sheet material, chosen. different techniques such as plasma-arc, laser-beam and water-jet are chosen. ���������� ��������on involves the removal of a specified volume of material from
Subtractive fabrication involves the removal of a specified volume of material from solid using electro, chemically or mechanically reduc�ve (mul�-axis milling) processes. solid using electro, chemically or mechanically reductive (multi-axis milling) processes. The The milling of three-dimensional solids is basically two dimensional cu�ng but adding milling of three-dimensional solids is basically two dimensional cutting but adding the ability the ability to raise/lower the drill-bit. Drill-bits could vary in sizes (diameters) or to raise/lower the dirll-bit. Drill-bit could vary in sizes (diameters) or could be done at different could be done at different rota�onal speeds, again, depending on the materials. Under rotational speeds, depending on the material properties. Under cuts can not be achieved cuts can not be achieved. through this method.
������� ��������on involves forming by adding material in a layer-by-layer manner,
Additive fabrication involves forming by adding material in a layer-by-layer manner, conversely to milling. Digital (solid) models are sliced into two-dimensional layers. conversely to milling. Digital (solid) models are sliced into two-dimensional layers. Due to �ecause of the limita�on in sizes, cost and �me, in design, addi�ve fabrica�on limitation in sizes, cost and time, in design, additive fabrication processes are used mainly processes are used mainly for models with curvilinear geometries. for models with curvilinear geometries.
Na�onal-Nederlanden Building (1996) Prague, Czech Republic - Frank Gehry: irregularlyshaped glass panels were cut using digitally-driven cu�ng machines.
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�o������ ��������on involves applying mechanical forces, restric�ng forms, heat
Formative fabrication involves applying mechanical forces, restricting forms, heat and steam on material, forming it into the desirable shape through reshaping and and steam on material, forming it into desirable shape through reshaping and deformation.
deforma�on.
The fabrication process of our design uses two-dimensional cutting techniques, which is
Thelaser fabrica� on process of our design uses two-dimensional cu�ng technique, which is laser cutting. cu�ng.
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Reading applied to design READING APPLIED TO DESIGN
For panel and folding system, the appropriate materials are usually in sheet form such as fabric, plas�c, sheet metal or cardboard, with thicknesses up to 16mm. These materials are most cost effec�ve with laser cu�ng fabrica�on. Specifically, our design is made out of op�x card (and possibly polypropylene) strips that are laser cut out from 600x900mm sheets. The For panel the high appropriate materials area fabrica� on and reallyfolding helpssystem, achieving precision for such usually in sheet form such as fabric, plastic, sheet metal complex form in terms of determining the various shapes or of cardboard, with ng thicknesses upon toposi� 16mm. materials the strips and loca� the connec� onsThese between them.
are most cost effective with laser cutting fabrication. Specifically, our design is made out of optix card (and possibly �owever, the fabrica�on process of our design was polypropylene) strips that are laser cut out from 600x900mm significantly affected by the capaci�es of the Fablab’s laser sheets. The fabrication really helps achieving high precision cu�er. Because it can only cut sheets at 600x900mm, the for such a complex form in terms of determining the various components (strips) that have bigger dimension needed to shapes of the strips and locating the connection positions be cut out on Rhinoceros before being assembled into laser between them.
cu�ng templates (�es�ng process). This result in the fact that the connec� fabrication process ourstrips, design was weHowever, had to make ons within theoflong which in significantly affected by the capacities of the Fablab’s laser our opinions, decreased the strength of the component itselfs, cutter. Because it can cut sheets 600x900mm, the and the performance andonly behavior of theatdesign as a whole. components (strips) that have bigger dimension needed to be cut out on Rhinoceros before being assembled into laser cutting templates (Nesting process). This result in the fact that we had to make connections within the long strips, which in our opinions, decreased the strength of the component itself, and the performance and behavior of the design as a whole.
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Reading Response Week 7
READING RESPONSE WEEK 7
�igital Fabrica�ons: architectural + material techniques/Lisa Iwamoto. New York: Princeton Architectural Press c2009 Digital Fabrications: architectural + material techniques/Lisa Iwamoto. New York:
Na�onal-Nederlanden Building (1996) Prague, Czech Republic - Frank Gehry: irregularlyshaped glass panels were cut using digitally-driven cu�ng machines.
Digital fabrica�on is commonly one of the final stages of the architectural Princeton Architectural Press c2009 process: a way of using digital data to control the fabrica�on process. ��er the success of ground breaking projects where the digital models were translated Digital fabrication is commonly of the final stages the architectural directly into physical produc�on one by using digitally drivenofmachines, this building process: a way of using digital data to control the fabrication process. After method revealed that the complexity and uniqueness of the geometries the did not success of ground projects wherethe therequired digital models were translated signifi cantly affect breaking fabrica�on cost, since effort to make a series of directly pieces into physical production bythe using driven machines, thiscal building unique is almost equal to effdigitally ort to mass-produce iden� ones. The method revealed that the complexity and uniqueness of the geometries did not and success expanded the role of the architect to include oversight of the building, significantly affect fabrication cost, since the required effort to make a series therefore, results in Michael Speaks statement: “Making becomes knowledge or of unique pieces is almost to thinking the effortand to doing, mass-produce identical ones. intelligence crea�on. �n thisequal way of design and fabrica� on, and The success expanded the role of the architect to include oversight of the prototype become interac�ve and part of a non-linear means of innova�on”. The building, ins� andgate therefore, in Michael Speaks statement: “Making becomes projects on thisresults avenue of design research and shape a new genera�on knowledge or intelligence creation. In this way of thinking and doing, design of architects. Digital models not only plays the strong visual aspect of a project but and plays fabrication, become andofpart of a non-linear also a signifiand cantprototype role in sparking theinteractive imagina�on young designers. These means of innovation”. The projects instigate on this avenue of design projects were achieved by most notably architects who know-how andresearch willing to do and shape a new generation of have architects. Digital models not onlydesign plays the material experiments, traits that now increasingly permeated culture. strong visual aspect of a project but also plays a significant role in sparking the imagination of young designers. These projects were achieved by most notably architects who know-how and willing to do material experiments, traits that have now increasingly permeated design culture.
Experience Music Project - EMP (2000) Sea�le, USA - Frank Gehry: 21,000 different shaped metal shingles for the exterior were cut digitally.
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READING APPLIED TO DESIGN
Reading applied to design
Digital Weave Digital Weave by Iwamotoscott Architecture University of California, Berkerley/Lisa Iwamoto (2004) (2004)
Digital technology has significant impacts on our design as it was consistently moving back and forth between physical model and digital surface model. In most of our time, we started digitally because as stated in the Digital Fabrication: Architectural and Material Technique, digital models are commonly used to test Digital has of signifi impacts oncreating our design as it was out thetechnology visual aspect thecant whole system, oversights consistently moving back and forth between physical model and for each ideas. Physical models were most of the time not fully digital surface model. In most of our � me, we started digitally completed but used for experimental purposes and tested because as examine stated indifferent the Digital Fabrica� on: always Architectural and carefully to materials. It was a helpful Material Technique, digital models are commonly used to test practice for us to consistently review our digital models after out the physical visual aspect of and the whole system, crea� ng oversights making models prototypes to see aspects that for each ideas. �hysical models were most of the � me not fully needed to be reconsidered. In terms of fabrication, even though completed but used for experimental purposes and tested using laser cutter allows us to create every single element of our carefully to examine diffour erent materials. It always was always a meet helpful design in high precision, design intention had to prac� ce for us to consistently review our digital models the machine capacities, such as maximum sizes/dimensions a� or er making physical models and prototypes to see aspects that thicknesses. Our design was greatly influenced by two fabrication needed to sectioning be reconsidered. In termsOur of fabrica� on, even though methods: and folding. main precedent was using laser cu� er allows us to create every single of our the Digital Weave by Iwamotoscott Architecture. element The creation design high precision,from our Rhinoceros design inten� on always had tocuts, meet processinwas replicated: model with section the machine capaci� es, such as maximum sizes/dimensions laid out on templates for cutting, and assembled into system.or thicknesses. was greatly influenced fabrica� Furthermore, Our the design folds allow card materials to by betwo closed andon methods: oning andrequirements) folding. Our and maintherefore, precedent wasthethe expandedsec� (performance allow Digital Weave by UC Berkeley students and Lisa Iwamoto. system to span distance and become partly self-supporting. The
crea�on process was replicated: from Rhinoceros model with sec�on cuts, laid out on templates for cu�ng, and assembled into system. Furthermore, the folds allow card materials to be closed and expanded (performance requirements) and therefore, allow the system to span distance and become partly self�suppor�ng.
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Prototype development Positive of experimentation prototypes: The possibility of overlaying different layers to create a structure that generated an unique pattern, where the density is controllable through the layers and thickness of individual layer. Moveover another positive aspect includes creating a variation of curves and pattern.
PROTOTYPE DEVELOPMENT
Colour was also embedded to create another meaning to the design. As an individual approaches from behind the colour red is used to warn others, giving them a ‘stop’ signal. Negative feedback consist of needing to explore more possibilities in the types of joining system, because the use of the staple to connect two sections together did not seem visually pleasing and did not fit the visual effect that we attempt to create. Improvement: Material: Explore more on material system and properties. Connection: Discovering the possible joint system that assist in conveying the quirky theme applied. At this stage the group still not satisfied with the joints tested. Effect: Although creating various forms of wave was a good idea, these waves need to be dramatised for it was difficult to indicate its existing effect in our prototype. Effect: Introducing the idea of colour was a good idea, however, additional elements need to be added to make the use of colour more effective.
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PROTOTYPE OPTIMISATION PROTOTYPE OPTIMISATION v1 The group focused on creating curvature on the surface of each layer. These waves are visible and are created through changing the domain numbers of two groups of points. Although it does convey the idea that the group attempts to display, it has this consistent thickness, which was disappointing because when the thickness remains unchanged, the pattern created in between individual sections were not as visible on the front view it seemed flat and 2D. The material selection for this task was optix (black) 300gsm and thick paper (Red) 200gsm. When choosing these materials, the team considered the stability of the structure, what was not well considered was the flexibility for these sections. To join the two materials together the use of PVA glue was selected, the positive aspect of such glue is when it dries it is very strong, the negative aspect is that it leaves a messy surface which leaves marks on the surface. The joining method we attempted to use was split pins, as it is easily applied, dries faster than glue and can be removed if placed in the incorrect position. On one side the split pin leaves a nice shinny surface on the other side it is not the same. Hence, the group after receiving some advice decided to try the joint method riveting.
Colour: The group continued with the colour effect generated by the two colours black and red. Connection: The group continued with split pins as we saw this as one of the successful solution at the time.
Material: Reflective quill board is applied to test whether it was suitable for the quirky theme. PVA glue was applied to hold the sections together, however, it was obvious to see that the surface was altered due to the paper soaking the glue. A similar result was also seen on the non shinny material as well.
Effect: The waves have been dramatised on rhino and laser cut, however, due to the material selected, glue applied and also the height of the sections, the structure was rather heavy and was not flexible enough to hold the pattern in between it.
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FORM DEFINING As the continuous wave idea was no longer approachable, the group was unsure about what the ďŹ nal form would be, so a small sketch model that sits around the shoulder was made to assist the group to visualise the shape and how the second skin would be attached to the body.
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PROTOTYPE OPTIMISATION v2 Red quill board and black optix card was used for this task. The optix card has the same properties as ivory card. When combined with red quill board, the composite material is strong yet flexible. The group attempted to use thinner strips with these materials again and it worked much better than the thicker continuous wave shape sections with small openings. At this stage the group was introduced to another form of joint connections, cable ties. When these cable ties were used the idea of leaving the ties uncut became an interesting idea. The group explored the idea of weaving in and out of the punched holes, attempting to create another layer or surface on top or under the existing structure. The major problem with the prototype was that it seemed uncontrolled, for it did not demonstrate a distinctive pattern that had its own principles.
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PROTOTYPE OPTIMISATION v3 Amendments were made for: - Height of the sections - Utilising the cable ties to create another surface, this is done through weaving the ties over and under the surface of each section. - We also selected various coloured cable ties to create a variation both in height and colour. These colours was chosen by looking at coloured patterns found on reptiles. - The openings created by each sections was also adjusted to be bigger. The problem found in this part of our design decision was the design became rather unstable and was not capable of standing upwards by itself.
It creates a clean ďŹ nish to the design. We tried using pop rivet to secure the strips together. The holes in the strips are cut ďŹ rst, then the bolt is inserted and using a pop rivet gun, the rivet bolt is secured in place. However, our main material is card. When a little tension is pulled on the card, it tore at the holes where the rivets are attached. Moreover, it gives more weight that might affect how our general form behaves. It is also more time and energy consuming.
We experimented by curling and roling the layer onto itself, relating to the Digital Weave by Iwamotoscott Architecture. We discovered that it gives the general form more rigidity and creates more volume. It is able to hold its volumetric shape on its own, and we decided to take this idea to our final design.
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FINAL DIGITAL MODEL
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COLOUR OPTIMISATION The sections in prototype optimisation v3 consists of red on one side and black on the other. We decided to change the red quill board to white ivory 290gsm card. They behaved the same. The reason we changed to white is because there is too much of colour going on. Refering back to the testing effects phase in M2, overuse and inappropriate choice of colours and textures could easily result in an opposite and undesirable outcome to what was intended, which is visual attraction. With white colour, it still provides the effect of disturbing when viewed from different angles. White in general reflects light as well, providing contrast between both sides of the section.
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PHOTOS
FINAL FABRICATION SEQUENCE FABRICATION SEQUENCE
Numbering/Arranging Strips
BLACK OPTIX CARD
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Combining Strips
Forming Volume
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WHITE IVORY CARD
DIAGRAMS
GLUETAPE
CABLE TIES
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Completing two layers
Weaving
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Connecting two layers
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Trimming & Touch-up
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WEAVING TECHNIQUES
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ASSEMBLY DRAWING
ASSEMBLY DRAWING
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COMPLETED 2ND SKIN V1
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FEEDBACK AND MODIFICATION The feedback received was that the colourful cable ties and the weave pattern of the paper underneath seems like two different objects. They don’t seem to relate to each other well. The cable ties distracts attention from the black and white weave layer, making it obsolete. The group agreed and decided to accept suggestion to improve. The suggestion was to change the colourful cable ties into black ones. This would match the weave pattern underneath and be one singular object.
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FINAL COMPLETED 2ND SKIN
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M3 REFLECTION Prior to this, I did not pay much attention to the fabrication side of design and architecture. Through this, I realised that fabrication is part of design, well intergrated in the design process. We fabricate and assembled the laser cut sections of the final design and realised the layer formed is rather flat and does not contribute to much volume. It was fortunate that we did not dispose our prototype optimisation v3, as we discovered a way to create more volume by curling the layer. The final form looks slightly different to the digital model. This is due to the properties of the design after it is being assembled, causing us to make modification. This made me realise that design and fabrication is not a linear process and sometimes we have to take a step back. As Michael Speaks statement: “Making becomes knowledge or intelligence creation. In this way of thinking and doing, design and fabrication, and prototype become interactive and part of a non-linear means of innovation� (Digital, 2009) One of us worried a lot that the end product of fabrication will not work as intended during the fabrication sequence. I personally think that if it does not work, we can figure something out based on its properties. We did not waste time on other ways that would persumably work before completing the current fabrication. Despite this uncertainty, we realised the design’s final properties and make changes to the form accordingly. This process is similar to M1 where I analysed the object. From information gathered through analysis, we know which direction to head in order to make the final design work. Through this I realised that there is no final design before the production. Often the design process stretches through the fabrication process.
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4.0 REFLECTIO
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ON
DESIGNING & PROTOTYPING I constantly get caught up trying to perfect the form of digital model prior to making, but I realised that I could not progress much before prototyping. I realised there is a time where we should just stop designing and just try it out on physical model. It is also important to make the intended design in full scale in order to visualise it and see how it behaves. Even though it works on a small prototype and was able to hold its shape alone, the properties changed as we built it in full scale. This is due to the weight and the span of the design. After prototyping, we know what to look for, what to design and what factors that would make our design work. As the MSD FabLab does not open on weekends, our lasercut prototype are often done on Friday, after the job collection hours. This gave us two days of minimal progress without actually knowing how our prototype would behave. This is due to the time consuming process of converting the 3D digital modeling into a file readable by the laser cutter. The unrolling and nesting process prior to sending the job to FabLab for laser cut is surprisingly time consuming to me. This made me realise that when making the 3D digital model from the start, we have to properly make it to make it more convenient in the future process of the project. Time allocation and setting personal deadline is important. We send our jobs on Wednesday nights, assuming it would take around one day to laser cut but it finished on Fridays after collection time. This made me realise that we should be safe than sorry, to have an alternate plan and be prepared for the worse to happen.
GROUP We allocated jobs to ensure the quality of each job is better, as each of us are knowledgable and skilled at our own task. Through this project I am grateful to have cooperative groupmates. Eventhough it is rare that all three of us get to meet up to discuss and fabricate, we communicate with each other and update each other on the changes made. Communication is important as we try to adjust to other’s interest. I believe it is most important to ensure our group’s relationship with each other is well. This would make explaining and accepting different views easier. This subsequently gives us more time to actually solve problems, complete tasks, prototype and fabricate instead of wasting time arguing or deciding which idea to go with. We are able to tolerate each other, willing to take a step back for the greater good of the project despite not towards personal liking. DIGITAL There are different digital fabrication techniques that suits different project situations. Through this I was able to gain knowledge on the different techniques so that in future I know what to do or which method to choose from in order to realise my design. With this project I was able to hone my skills in time management throught nesting and laser cutting, 3D digital modeling using Paneling Tools in Rhinoceros, and be unafraid to constantly test, to be prepared to fail and analyse the reason behind it. Despite having the convenience of digital modeling to create complex forms and digital methods to fabricate them in high precision, we still need to invest a lot of time in preparing the laser cut file and in prototyping.
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5.0 APPENDIX
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Page Cover
CREDITS
Drawings
Computation
Model Fabrication
Model Assembly
Photography
Writing
Graphic Design
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Page
Drawings
Computation
Model Fabrication
Model Assembly
Photography
Writing
Graphic Design
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Xiaojin (Georgia) Huang Thai Quang Bui De Lester Wong
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BIBLIOGRAPHY
"DIGITAL WEAVE - Iwamotoscott". Iwamotoscott.com. Web. 6 Apr. 2017. Retrieved from http://www.iwamotoscott.com/DIGITAL-WEAVE
Iwamoto, Lisa. Digital Fabrications: Architectural And Material Techniques. 1st ed. New York: Princeton Architectural Press, 2009. Print.
Kolarevic, B 2003, Architecture in the Digital Age - Design and Manufacturing /Branko Kolarevic. Spon Press, London.
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