DIGITAL DESIGN + FABRICATION SM1, 2017 M4 JOURNAL - PANEL AND FOLD LIAOYU ZHOU 784143 Alison Fairley + TUT2
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CONTENT
0.0 Introduction 1.0 Ideation 1.1 Object Measured Drawing 1.2 Mesurement Analysis 1.3 Sketch Model 1.4 Sketch Design #1 1.5 Sketch Design #2 1.6 Sketch Design #3
2.0 Design 2.1 Personal Space Scenario 2.2 Sketch Design Development 2.3 2nd Skin Proposed Design #1 2.4 2nd Skin Proposed Design #2 2.5 Redevelop and Clarify Scenario 2.6 Percedent Reserach 2.7 Physical Units Testing 2.8 Design Development Version 1 2.9 Design Development Version 2 2.10 Prototype 2.11 Testing Effect
3.0 Fabrication 3.1 Introduction 3.2 Design Development 3.3 Design Development + Fabrication of Prototype V.2 3.4 Reading Respond Week 6 3.5 Reading Respond Week 7 3.6 Prototype Development + Digital Variation 3.7 Prototype Optimization - Fabrication Testing 3.8 Prototype Optimization - Material Testing 3.9 Prototype Optimization - Connection & Curve Forming 3.10 2rd Skin Final Design 3.11 Fabrication Sequence 3.12 Assembly Drawing 3.13 2rd Skin Details
4.0 Reflection 4.1 Reading Respond 4.2 Reflection
5.0 Appendix
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0.0 Introduction Our starting point of this project is our material system panel and fold. I chose an origami object form Kmart and started to analyze the paper folding technique of it. And tried to generate some draft design out of this system. After that we started to establish our own scenario based on the design brief of building a second skin to form a personal space around the users. We used digital tools to present our design intents and the digital tools also informed our designing units and form. We used laser cut to fabricate our final model, which made the fabrication process much easier.
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1.0 Ideation Extracting folding method form the origami object, and exploring this technique through forming volume. Designing with this volume forming method on human body towards diverse directions.
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Measured Drawings
Plan
mm Elevation This object is called origami mobile from Kmart. It is an interesting structure creating volume from floding a sheet of paper. At the very beginning, I measure the object through ruler for its different edge length. But I did not find it helpful for making the elevation and plan. Because those edges are positioned in different angles, lengths of them on elevation are much diffferent from their real edge length. As a result, the elevation and plans are not a good reference for making this object. 10
Plan
scale 1:1
top view
parts of flat pieces
When I did the measurement, I stuck the object on table to stablize it for my view and used the method from 300 years of Industrial Design to photograph the object. And then puting the picture into the right scale and tracing over the picture. I find it really helpful but requiring a really good shot. The measurements of the unfloded pieces can really help others to rebuild this object instead of those measurements for elevation and section.
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Analysis This origami object is folded from one sheet of paper, following the different folding in and out principle. And then tightened together with two strings from the top and bottom part through a series of holes. The folding direction is essential in this object, which creating this echoing patterns and forming volume.
The method of making this object can be concluded as a series of mountain folds and valley folds to create volume out of flat pieces. mountain fold
valley fold
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The unfolded structure in natural state
The unfolded structure being stretched
The unfolded structure being pressed Through different connection method, we can make different forms out of this folding technique. The holes pouched on this object can not only be connection joints but also aesthetic considerations. In later design stage I might create different patterns on the object surface.
front view of the unfolded structure
This structure performs differently with its shape and length changed when it is under different forces. It enables the structure to form curves which create volume and naturally change its pattern according to the forces it is undertaking.
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Sketch Model
Class exercise: Changing curvature of flat pieces by adding one more of the hexagon, which creates volume.
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I tried to create volume use the origami mobile’s unfolded pieces directly by making the long strip spiral.
Extracting from the folding technique, I made this triangle based origami structure. Through a series of mountain folds and valley folds, the structre can be stretched out and drawn back easily with forces.
It can be bended to create volume. Triangular patterns appear to be tighter where there is bent.
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Sketch Design #1
“Personal space refers to an area with invisible boundaries surrounding a person’s body into which intruders may not come”(Sommer, 1969). As a result, to ensure personal space is to create boundary around the person which prohibits other to cross.
blocking eye contact keeping distance
This design is driven from a busy tram passenger’s situation. Imagining people are standing very close to each other, you feel uncomfortable to make eye contact with others, and want to keep certain distance from other passengers especially in your front, and in your left and right sides of your body. According to Sommer, visial invasion is an important part of space invasion, and human can be treated as object which will cause less stress without eye contact (Sommer, 1969). This design is keen to avoid the eye contact on the busy tram. The pattern is refered to the sketch design’s triangle grid. Keeping others out of the wearer’s personal space by wrapping around body. In some place, such as left and right sides and the front, the structure takes up larger space to keep strangers out side.
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eye will be covered by this structure, as a result providing privacy structure goes further in the front to keep a reasonal personal space
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Sketch Design #2 active guesture pointed go away blur identity
Imagine you are walking in street, do not want anyone to bother you, and do not want to be hit by pedestrains who are walking alongside. This design uses pointed structure to indicate a sense of unwelcomeness and estrangement. In consequence, keeping pedestrains away actively. “A spatial invasion is whether the parties involved in perceive one another as persons”(Sommer,1969). In my opinion, if a person’s identity is blurred to some extend, the sense of discomfort caused by the space invasion will decrease. Therefore, I decided to use reflective or translucent material to construct this structure, which will disturb others’ grasp of identity towards the user. In this way, increasing user’s satisfaction.
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pointed structure to express unwelcome and keep pedestrian away.
half of user’s face will be covered and blurred
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Sketch Design #3 quiet adjustable
This design focus on solving the problem of studying in a library, when you want to have a moment of quietness, and do not want anyone to disturb your state of concentration. The structure is connected at back, which aims to give enough space to work in the front and notice others approaching from back that you are in a study mode. Triangle grid in the sketch design will be use to provide flexibility to the structure. Soft material like papper will be used to ensure the structure is adjustable to suit sitting and studying position. Due to its flexibility, user can adjust the ear shield to be open when they need to talk.
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adjustable ear shield to ensure a quiet study environment
connecting all parts in the back
extending on both left and right side to ensure a comfortable distance from other.
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2.0 Design We specifically defined our scenario for personal space and redeveloped past designs based on our personal scenario. Our design’s composition depended largely on precedents, and a prototype with reflective paper is made for testing.
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Personal Space Scenario We focus on visual invasion towards our personal space. Therefore we are designing a second skin to form as a new personal boundary visually, which intends to block out the visual invasion from outside when the wearers start to feel uncomfortable. According to Chen, Nummenmaa and Hietanen (2017), the level of discomfort derived from eye contact is mainly influenced by the level of social anxiety a person has. In this design, we are designing for these group with high level of social anxiety, who would like to have a break from others and enjoy some extend of privacy and peace in public area. According to Sommer(1969), without these eye contacts, others are more likely to be treated like objects, which decrease some stress of users.
Paper face - Hector Sos
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Comparing these paper face models, we can easy find that the mask with lots of spike-like shape will keep others away than the others masks. People would tend to stay far for the these spikes look dangerous and they tend to keep a safe distance for themselves. There mask with curvy lines are interesting and playful which makes the other want to go closer to have a look instead. In order to keep a greater distance therefore having a larger personal space from others, a more aggressive shape is needed.
Through using a more aggressive shape, we can not only have a larger personal boundary, but also help our users saying no to others. People with high social anxiety will usually unconfident to express rejections to others. Designing aggressive shape on face, we intend to provide the opportunity for them to express their needs of being alone for a period of time.
Paper face - Hector Sos
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Sketch Design Development
To fit in our personal space scenario, we developed the pointed structure of this design and relocated the design in relations to the needs of covering eye to avoid eye contacts in some circumstances. The value we have taken away from this design is its agressive structure that could scary the strangers away or at least keep others in a satisfactory distance from the user.
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original sketch design
folding pattern
The old sketch design has the aggressive structure and it concentrated on the way of folding structure can be situated on a person’s shoulder through tensions creating by circular twine.
Refine Sketch Design #1
Combining my sketch design with our new personal space scenario, larger area of the face is covered to block eye contact and a new pattern of folding unit are explored to creating more spike-like shape. The folding units are two different folding units connected together which can be repeating as one module to form a surface. This pattern not only has a spiking effect, but also accommodates the curvature of body, which lead to different pointing directions of the little spikes.
In lateral design development, we will explore more about the different shapes of spike-like units and define a more specific personal space to situated our design among the body.
elevation
roof plan
elevation
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Sketch Design Development pattern
This sketch design is aim to create a sharp shelter to user that can reflect the unwelcomeness towards others. In consequences, informing other in their uncoucious state to keep a distance. shield formation
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The shield itself also extend outside the body and shoulder to work as a physical barrier.
Refine Sketch Design #2 iterations
plan
elevation
elevation
We are taking the spikes elements from the original sketch design and want to explore more possibilities of the units that performing as aggressive elements. By putting this design in rhino, we realize that small spikes and elements might not be powerful enough to express the danger we needed for scarying people away. We decided to exaggerate our basic units to reach our intents.
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2nd Skin Proposed Design V.1
A pyramid-like pattern is used in order to create a spike-like covering enhancing the sense of danger towards other people and stopping them from coming close.
Personal space required in standing and sitting position
unit pattern
After anaylising the personal space a person might requre, we discovered the space a high social anxiety person might require to feel comfortable involving the problem of eye contact. The diagram above is the personal space our intended users might required when they are standing and sitting. Therefore, the essential zone is the part in the front of the head, and we decided to develop our form from this.
The location of this design is considering the space our intended clients needed to feel satisfactory. Mainly protecting the front area of the head and covering eyes to block visual intrusion. The structures on the chest and back are helping this design to be sit on human body.
plan
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elevation
There are two states of this design, user can wear it as a hoodie in the back in their daily life. And they want to have a piece of privacy or feel stressed, they can switch the shelter into the front to cover their eyes. When the design is in used, other people would keep a distance from the user, due to they can easily read the unwelcome and danger from this simple shelter.
physically covered area clear zone created by design pedestrain zone
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not in use state
in use state
2nd Skin Proposed Design V.2
unit pattern
We explored different pyramid units patterns in the second design. By comparing these design, we realized when the basic unit have smaller unit size, the design look more delicate but it is less powerful in terms of scaring people away. However, when the pyramid units becomes larger, the design can look rough, which in a sense is meeting our intents.
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diagrams elevation
This design is also mainly focus on covering the essential area which in our scenario is in the front, and both physically and emotionally blocking others from approaching. The area around neck is not only performing as a physical barrier but also working as a supporting on our site.
ISOMATRIC
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Redevelop and Clarify Scenario Situation
A girl in a crowded bar with her friends, and she feels stressed when strangers approach.
Target group
Female with high social anxiety
Design intents
Providing the sense of control to the users, as a result, she can decide who can approach and talk with her.
Inspiration At this stage, we are inspired by this image and the effect of mirror that can hide a person’s appearance and reflect environment or the approaching person’s face. According to Andre Pijet (2009), people tend to look at themselves in mirror due to the great interest towards themselves. By applying mirror surface onto our design, we can not only hide our users into the bar environment but also shift the approaching persons’ interest towards the user back to themselves. Photography by Camil Tulcan
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zoned areas on site
The essential area for our design is also the upper side of the body, but our bar situation confined the size within the user’s shoulders or she might hit someone in the bar. In order to give this sense of control and selection, we divided the user’s body and eyes into mainly two sides. One side is open to friends, the other side is all covered with mirror to block strangers. While a stranger is approaching from the open-up side, the user can just shift their body towards the other sides. In this way, the user can easily select who she want to talk to and expressing her rejection to stranger by her movement and the structure.
zoned areas on site
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Precedent Research Tokyo Tower Top Desk - KAZ SHIRANE
This installation is using multiple pieces of mirrors forming angles from other each to create the Kaleidoscope effect which is mixing the city views and reflecting viewers faces. Through this effect the architect generate interesting views and creating illusion of spaces.
Kaleidoscope effect Views Illusion 36
We are taking the idea of Kaleidoscope effect from this precedent. By placing our mirror pieces on angle with each other to create the shattering image from environment and human faces. Blending the user into bar environment and hide her.
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Precedent Research Opening Chronometry - HGA Architectural Design Lab This project uses material with flexibility and folds the units to be one cone. The most exciting part is its connection. By connection two reversed direction cone together to fit in space. Each cone has three connection strip not only functioning as connection but also having structural values.
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We consider to use cone like structure to test out if it will get a better reflection pattern from reflective paper. We are quite inspired from this precedent’s connection method, which we could take into our design. By placing units into different direction, we can also get a more complex reflection pattern.
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Physical Units Testing
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After testing all kinds of units in paper and reflective cardboard, we finally settled on having individual units instead of whole sheet of paper or curve folding. We made few units with angled surfaces from each other, and the shattered cone-like structure are performing well in terms of kaleidoscope effect.
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Design development - Version #1 Corporation with the Tokyo Tower Top Desk’s angled elements and kaleidoscope effect, this design uses a basic unit that can conduction kaleidoscope effect. By repeating this unit, the user can blending in the environment on the blocking side. In this design, right side is “blocking stranger side”, and left side is “taking with friend area”.
unit pattern
strangers
friends
front elevation
“blocking stranger side” is intended to be made out of mirror to hide user and blocking visual intrusion and “friend area” needs to be made out of translucent material letting user talking to friend but still keep a degree of privacy.
right elevation
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left elevation
roof plan
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Design development - Version #2 strangers
unit pattern
friends
Carrying the kaleidoscope effect similar to the version1 design, we use the unit that creating the best kaleidoscope illusion from our physical unit making process. Combining the great connecting technique from the opening chronometry project, we create this pattern and apply to our form. front elevation
connection
left elevation
Similar to version 1, right side is “blocking stranger side”, and left side is “taking with friend area”, but with different patterns and connection method. Adjacent cones are always one facing up and one facing down which create better complexity in terms of reflection.
right elevation
connecting points
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roof plan
Shifting the blocking side toward the approaching man, she does not need to see and talk. She is enjoying a moment of herself in this bar.
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Prototype
We etched the folding line which makes us fold the units easily, and laser cutting makes model making process really quick In the final fabrication, we are going to change material to mirror to get the best result. Different cones are connected by fishing line through its connecting point, proper connection method are needed in future stage. The connecting points are working well by now.
At this stage we laser cut reflective cardboard to make this model, it already achieve the desired result to some extent.
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connection points
Testing Effect The angled mirror surfaces will create kaleidoscope effect, which will reflect and shatter views. Supporting by these effects, the physical barrier of face and eyes can be turned into a device that can help the user to hide when she is not willing to connect with strangers. Viewer will only see the shattered bar decoration and themselves, when the user turns the blocking side towards them. This help user to avoid eye contact, talking and stress, therefore having a sense of relief in a crowded bar.
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3.0 Fabrication After a series of design development, we did some prototype and material testing before we come to the final design. Then we used laser cutter to fabricate and assembly our model. The final model is carefully fabricated and assembly, which achieves our intended effect.
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Introduction After M2, we went back to explore more about the basic units from our precedent. By using more consistent units system, we achieved a more stable structure. Then we started to produce digital version of the design, which influenced our overall form of design. We were changing to simpler geometries, which enables panelling tools to have regular cones for production. We also tested different materials that have the mirror effect. Buildability is our main focus in this stage, also we conducted different tests both in physical and digital world.
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Cone System Exploration
Digital Manipulation & Form Adjustment
Material Testing
Fabrication
Final model
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In M2 prototype we are trying to use Kaleidoscope effect on a facious mask, which will hide the user in her environment in a bar, when some unwanted stranger approach. But the structure is not working as good as our pricedent. We think this unit is too complicated to be controlled and connected. We decided to go back to our princident to reconsidered our aimming effects and the admired simplicity of the pricedents.
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Design Development Surface Forming following the precedent connect units together through flipping inwards and outwards cones to form surface
Curve Forming exploration - connect cones with the same direction can create curvature. the curved degree changes with different unit sizes.
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Design Development + Fabrication of Prototype V.2
physical model following this pattern to form surface
the curve forming by join two units with same direction
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roof plan
A brief demonstration of the way it might work on the face
front elevation
isometric view left elevation
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Reading Respond WK6 Architecture in the Digital Age - Design + Manufacturing/ Branko Kolarevic, Spon Press, London c2003
1. 3 dimensional scanning techniques: Scanning is part of reverse engineering, which use machine to input real-life geometry into computer. 2. 2 dimensional fabrication: This method is using machine to cut sheets of material into designed shape, and then assembling these flat pieces together. 2D method is generally cheaper way to fabricate compared with 3D method, but is unable to perform cut with angle. Methods: plasma-arc, laser-beam, water jet, and laser cut. 3. 3 dimensional fabrication: 3D method usually cut the material as a whole, which means the outcome is a unified piece. - Subtractive fabrication: milling of 3d solid, CNC milling(4 or 5 axies machine) - Additive fabrication: stereolithography (SLA)- light sensitive liquid and laser, Selective Laser Sinter (SLS)laser beam melts metal powder, 3D printer, laminated object manufacture (LOM), Fused deposition modeling (FDM), Multi-jet manufacture (MJM)
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undercut that cannot be cut with 3 axes
laser cutter Photography by Fablab
Reading Applied to Design
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630.00 We use laser cut to fabricate our model with greater control in terms of each units. There are rastered numbers on each piece of the cutout helping us to locate our pieces on the model.
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Reading Respond WK7 Digital Fabrications: architectural + material techniques/ Lisa Iwamoto. New York: Princeton Architectural Press c2009 Digital design and fabrication empowered designers to see the final result of the design and can be used to quickly make precise physical model to test and improve the design as well. Designer can also be involved into the construction stage due to the digital tools can provide sophisticated detailing. Digital fabrication now advocates using sheets of material with precise cut, and assembling them to become curved surface which is cheap and quick than before. Different design system can be used to reach this goal such as sectioning, tessellating and folding.
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digital fabrication for tessellation
digital fabrication for folding
Reading Applied to Design
We use rhino as a software to conduct and visualize our design, but the pure computation which might produce some design that won’t work in real life. Therefore, we use physical model both as inspiration and troubleshooting method. Our design process closely is linked with the fabrication. After the testing of the physical model, we usually can find new possibilities and problems and then change the design. Our design is both using the folding and tessellation technique, to cover a curvy surface with folded cone units. We also noticed that the perfect tessellation of a curvy surface requires a high level of precise detailing, which can only be provided by using digital tools. In our case, we use laser cut to quickly produce these detailed pieces
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Prototype Development - Digital Variation We encountered lots of problems in this process and we switched from panelling tool to grasshopper. Eventually we decided to fabricate two layers of our designed cones in rhino and then stick them together which made our digital design a bit different from our final prototype.
The process of digitalization is really important for us, not only as a tool of visualization and fabrication, but also a way to adjust our geometry and rationalize our pattern to be more buildable.
#1 sweep 2 - surface generation
grid generated - surface domain no.
panel custom 3D - using cones as
offset grid
base unit
#2 old model - lacking structural strength to sit on body
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lofting - forming base surface
generate grid on surface
offset the grid
The other main issue is the units produced by panelling tool are usually warped, therefore, we are shifted to simpler and straightforward geometry to resolve this problem. I think a more rational geometry also highlights the beauty and rhythm of our pattern.
Problem: The surface has a complex geometry which results in we had really strange cones on the surface(cannot be rolled). We also realized this structure is hard to sit on human’s body. Solution: generate simpler surface and add support of the structure, so it can sit on user.
variation of base cones
We used loose loft to produce simpler geometry on this iteration and redesigned our form to be a ring-like structure, which can tie to user’s neck. Problem: cones are still warping on the short end due to we cannot reduce cone number on the short end. panelling tool - place cones on
problem - cones are warping on
we tried meshing the surface but
the grid
the short end
the result stayed the same
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#3 we tried to fix the warping units
generate grid on the sphere
offset grid
by using standard geometry.
panelling tool - place base cone on according to the grid
Prototype Testing in Grasshopper Seems the problem is not solved in rhino, we shifted to grasshopper, and tried to build the cones out of lofting which can ensure each cone are unwarped. In this way, we can unroll the units easily and fabricate.
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create panel on surface and
based on the points to draw
scale the circles and move them
extract points
circles
according to the central points
extract two layers of grid on
based on the points to draw
scale the circles and move them
panels
circles using two points distance
according to the central points
as diameter
We tried to use existing geometry in rhino but the warping problem is not solved.
delete some cones to create
problems - the form is largely
problems - the two ends of the
desired form
following the shape of sphere and
sphere is highly warped
quite different from the form we want.
We can have regular and unrollable cones in grasshopper, but there are great troubles with the intervals it creates.
loft - cones are no longer warped
problem - scale cones by each
the huge intervals are more obvi-
but intersected.
row, when they are no intersect,
ous when cones’ sizes change
the intervals are huge
sharply.
loft - cones are no longer warped and not intersect as well
some are working
Problem: In grasshopper version, these cones are not continuously linked one with another, as a result, there will also be gaps between some rows in real life when we assembly the model.
some are still getting great intervals, due to perfect straght cones’ definition only works on square grids with the same size
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Prototype Optimisation - Fabrication Testing
lofting - simple geometry
laser cut two sets of the pattern with 3 different units’ sizes Material: black card large units are cut on 300 GSM card, medium and small units are on 200 GSM for a testing 64
3 different base units
grid length
These cones are in semi-circle format and tricky to stick together. Therefore, we stuck two pieces together to extend the length. We are supposed to fabricate longer pieces and larger cones for the future.
layout different pieces before glue them together
We realized that 300GSM will be to stiff for our model and hard to perform the curve. 200GSM is perfect.
Seems 3d custom in panelling tool is producing warped cones which cannot be unrolled as well. We explore one new method use the orient command in rhino. With some limitation like you can use only one size cone and no attractor, but producing not warped and unrollable result. We are having the same size units using orient, which is lack of variation. Therefore, we used 3 different base cones to create variation and produce the desired result that there is a short side with smaller cones.
We fabricated two sheets of this pattern and made them both inwards and outwards cones to assembly our desired pattern, which is hard to produced in rhino. In this way, our physical model is different from its digital representation. representation of sets of inwards and outwards units that will come together in physical model
However there are some part of the cones are intersected with each other in rhino. After we tested in physical model, it does not create problem for us.
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Material Testing mirror spray: spray after all the pieces are cut
black card: 300MSG too stiff to form the curve 200MSG flexible and structural
effect on polypropylene: silver but not reflective mirror foil: apply to card after has be to cut manually
effect on perspex: reflective but too stiff to bend reflective card 1 mm: reflective but too shiny which makes it look cheap. effect on transparent paper: reflective but without structural value and has to be really clean before spraying 66
quite stiff as well similar to the 300 MSG paper finger prints sensitive
Glue Testing
transparent tape: ugly marks
super glue: too watery and easy to leave a large area of marks structurally strong
mirror paper 0.5mm: flexible and sturctural
Final Choice
highly reflective with good quality
UHU: structurally strong leave little marks when used carefully
Final Choice
finger prints sensitive
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Connection & Curve Forming
300MSG large unit which forms straight surface. Because the card is too stiff, it can only form curvy surface on a larger scale
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The pattern of cone is influenced by the square grid generated on the rhino model, which is denser than the original in the precedent. It is more suitable for our design purpose to block and reflect
200 MSG medium and small units which can create curvy surface. The point of making a sucessful model in this scale is making small units and use thiner card
This is the original pattern in precedent, which creates larger intervals between units.
To make sure our model can make it turn on the cornor, we decided to place two cones with same direction. Therefore, we can reach our intended result.
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2nd Skin Final Design We used the panelling tool orient in grasshopper to achieve this final continuous outcome. We laser cut this template for two sets of units to flip them inwards and outwards to form a solid structure. For our intended effects, we need to make the units larger to reflect more of the environments. However, in our last model, the large units are hard to bend into the desired curvy shape. Therefore, we manually create the turning corners for the large units. For the smaller units, we keep their original curvy form from using the labelled changing units, which is more natural and wanted shape.
base unit
roof plan
front elevation
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representation of built model
left elevation
right elevation
On one side, blocking the approaching stranger, by reflecting environment and the strangers’ face on the larger units On the other side, see and talk to friends, and giving the users ability to flip their facing sides by their own motions
laser cut model units - desired more curvy and continuous result
71 representation of built model
Fabrication Sequence 72
laser cut two sets of units’ sheets
rastered numbers on the back to help locate each units and ease the assembly process
taking cutouts off by its seq
use UHU to glue cones
layout the pieces into its pattern and prepare for assembly
started to put all the pieces we are wearing gloves to pr
quence
s together revent finger prints
putting pieces in their categories
the general size variation of different units - each cutout is slightly different
final model
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Assembly Drawing
The pattern of normal surface
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The turning corner uses two inwards cones to make the turn.
This diagram represents the way the units layout out before it comes into a 3D volume.
larger units forming the long end to block and reflect stranger better
two rows of same units to form the turning corner
units are gradually become smaller on the short end.
large units - rigid to perform the curvy surface
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2rd Skin Details
general unit sizes’ variation
intended effect of reflecting figure’s face
blocking side
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small units’ details on the friends’ side
turning corner joint
composition from back
intended effect in a bar - blocking this dancing man
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2rd Skin
long end - blocking and reflecing stranger
short end - user can see and talk with friend
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short end - user can see and talk with friend front view, one eye is cover, one is not - ability to choose
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4.0 Reflection Reading Respond
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The Third Industrial Revolution
Imagining Risk
Drawing inspiration from the reading and your own learning from the last 10 weeks, described how digital technology has changes your view on design, making and the context of build environmentďź&#x;
Evaluate your process of designing and making the second skin against the notion of Craft outlined in the reading. Have you include a degree of design risk in your work?
Just like the discussion in the article, digitalization enable the collective work between enterprises and individuals. I can present my design idea in rhino before making it in real life and there are website for people to sharing and discussing their works. Also I can easily share my file with my teammate to modify without meeting. And designs in the computer are easily coming into real life with the help of 3d printing and laser cut in a short time. Even mass production is able for a short time. By laser cut our model, we avoid the inaccuracy and time-consuming work of handmade. I think digitalization empowers the individual's creativity and allows them to produce products without much cost. On computer screen, it is easy to make many variations of the design. I think in this way, designer are much prone to change and not stuck to a single idea. But designer must be aware of the difference between the real life product and digital representation and do testing before having the real product.
During our design, the digital design and the physical testing process, which refers to craft, are separated but interconnected. We designed on the computer based on our intended effect and considering the physics of the material in the real life and the connection. And then did testing prototype to see if it is working. If not, we are going back to change more details in digital program based on the failure reason. And then do another prototype again. Testing is an important procedure to ensure the design succeeding and informing the problems in the original design. We have some design risk in our work. Because the material rigidity, cones size, and the two layer of cones, we might have different result from the digital model. But material testing for its rigidity, keeping adjusting units sizes, and making prototype can reduce some risk. Especially if we control the cone size to a prefect range, we can have a perfect model.
Reflection M1 In module 1, I mainly focus on the theory establishing from the reading about the idea of personal space. My initial three designs are emphasizing on different sensory experiences in different locations. But the problem appeared to be that it is difficult to image the way the folding object will sitting on human body. Even if I have explored some different folding techniques and used them to generate volume. I decided to create more physical model to help me understand and generate one great system, before I go further in design on a surface. I think I focused on one sheet folding too much which is both hard to control physically and digitally. As a result, I explore more units system in my lateral design. M2 Firstly we defined a more specific personal space scenario targeted high anxiety group, both showing aggressive guest to prevent people getting close and covering eye area to prevent eye contact. We incorporated this scenario to previous design. But we narrowed and changed our scenario again, which is much closer to our final design. We are highly influenced by the two precedents we found. We appreciated the Kaleidoscope effect form Kaz Shirane, which reflect and distorted the human face and the environment, as it is similar to the idea we want to present. We used the structure from
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Opening Chronometry to connect our units together. At this stage we did lots of units testing, before we settled on one unit. The final prototype achieved our intention to distort and reflect the environment in a bar, and our material can be laser cut made it easy to make. The problem is the fishing line connection does not provide a structural value instead it is more like a surface cover. Another problem is the folded unit is hard to be connected seamlessly according to the rule in the precedent. Because cylinder shape in the precedent gives more tolerance to the model assembly. We have to go back to the precedent to think about the structural and simple representation that can be applied to our scenario. If I design this again, I will not explore that much number of different units without a deep
M3 After we go back to the precedent, we are quite satisfied with the cylinder shape units from the precedent, which not only work structurally but also aesthetically. At this time we are encoutered problem of generating unwarped unit digitally on our intended surface. After testing in both rhino and grasshopper, we reach a satisfied result. The form of our design is highly informed by the digital tool we used to reach the optimized result. In this stage, we should have start sending our digital model to laser cut, because our physical testing process is quite in a hurry therefore we did not have the best result we imaged.
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We were dealing with the rigidity of material, the size of the cones and the connection in the testing and final assembly. We were intended for a continuous and smooth transmission of the cones. However due to the cones size are too big, which made the structure rigid, we have to use the method of changing cones order to make the turn. We made the cone big, because the bigger cones can reflect human's face better, and the smaller cones only performed the effect of reflecting the nearby light and color. But now we think small cones have enough effect to reflect surrounding and hide the user. Therefore a smooth shape is more desirable.
In General In general, I am quite satisfied with the final outcome we had reached, which is quite different from what I came with in the first time. I feel like this whole design process is unpredictable, our design was kept shaping by little inspirations, the material we found and also the technical possibilities. I realized that no matter how wide a project is in the beginning, it will be dragged back to reality by the material, digital tools and construction. I also found it is essential to push one simple idea to it limit instead of adding lots of other details. It is important to explore the physical units, inspiration, and digital tools at the same time to help each other out instead of finding solution of them one by one, which limits design and causes trouble in lateral stage as well.
Future Improvement It is quite challenging to modify units on a curved surface, therefore we tried to make the surface as simple as possible. Because the length of each side is still quite different and large cones has greater rigidity, the size determination is essential to succeed. We are supposed to make the small cones bigger and the large cone smaller to achieve the proper bending strength for a smooth and continuous curvy form just like what we had in the short part of our final model.
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Appendix Credits Page
Group Member: Liaoyu Zhou (Rosie) Drawing Computation Model
Model
Febrication Assembly
Kayla Dunn
Photography Writing Graphic Design
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Reference Chen, Tingji. Nummenmaa, Lauri. & Hietanen, Jari K. (2017). Eye Contact Judgment Is Influenced by Perceiversâ&#x20AC;&#x2122; Social Anxiety But Not by Their Affective State. Front Psychol. Vol.8:373. accessed April 8, 2018. <https://www.ncbi.nlm.nih.gov/pmc/articles/ PMC5344928/>. Fablab unimelb. laser cutter. accessed May 8, 2018. <https://edsc.unimelb.edu.au/maker-spaces/fablab>. HGA Architectural Design Lab. Opening Chronometry. accessed April 8, 2018. <http://livecomponents-ny.com/?p=215>. Iwamoto, Lisa (2009). Digital Fabrications: architectural + material techniques. New York: Princeton Architectural Press, c2009. Kaz, Shirane. Tokyo Tower Top Desk. accessed April 8, 2018. <http://kaz-shirane.net/tokyo-tower/>. Kolarevic, Branko (2003). Architecture in the Digital Age - Design + Manufacturing. London: Spon Press, c2003. Pijet, Andre. (2009). Mirror: a psychological door to the otherness of self. Art Essays. accessed April 8, 2018. <http://pijet. com/2009/03/19/mirror-a-psychological-door-to-the-otherness-of-self/>. Sos, Hector. Paper face. accessed April 8, 2018. <http://hectorsos.net/paper-faces-3/>. Sommer, R. (1969). Personal space: the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J.: Prentice-Hall, c1969. Tulcan, Camil. Photography by Camil Tulcan. accessed April 8, 2018. <http://7while23.tumblr.com/post/38742492684>.
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