M4_Bosaid_Madeline_757993

DIGITAL DESIGN + FABRICATION SM1, 2017 M4 Journal - GLAMM Madeline Bosaid

757993 Amanda Masip, Tutorial #7

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CONTENTS 1.0 Ideation

1.1 Object

1.2 Object & System Analysis

1.3 Volume

1.4 Sketch Design Proposals 2.0 Design

2.1 Design Development Intro

2.2 Digitisation & Design Proposal

2.3 Precedent Research

2.4 Design Proposal V.2 & V.3

2.5 Prototype V.1 & Testing Effects 3.0 Fabrication

3.1 Fabrication Intro

3.2 Design Development

3.3 Fabrication of Prototype V.2

3.4 Final Prototype Development & Optimisation

3.5 Final Design Model

3.6 Fabrication Sequence

3.7 Assembly Drawing

3.8 Completed 2Nd Skin 4.0 Final Reflection 5.0 Appendix

5.1 Credit

5.2 Bibliography

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1.0 IDEATION

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1.1 Object

Handrawn plan, elevation and section of a Venetian blind, drawn at a scale of 1 : 10 on A4 paper. Here we see precise measurements and angles of each element.

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Digital render

A 3-dimensional model of a Venetian blind, modelled in Rhino. I found this task highly enjoyable, despite this being my first attempt at navigating Rhino. I began by inserting my plan, section and elevation into Rhino and working directly over the top of them, so that my digital model would be in perfect scale and proportion. I picked up many skills, tricks and shortcuts along the way, as well as what not to do when I next use the software.

Detail 2

Modelling the blind was simply a question of even repetition, and once I had the basic forms created, it was simply a matter of arranging in an array copies proportional to the original object.

Elevation Detail 1

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1.2 Object & System Analysis

A detail of the mechanism of the blinds and its closed view.

The mechanism of a Venetian blind is quite intriguing. The blind is made up of simple, flat blades that are put at a 30-degree angle to block or allow sunlight to enter a room. The blades are evenly spaced and attached with various thin ropes at 3 regular intervals along the width. 2 ropes with toggles dangle free, and when pulled, one changes the angle of the blades (this ranges from completely flat to 90-degrees) and the other either pulls the blades up in a vertical direction, or lets them hang down. The flexible material choice of the ropes allows for the blades to easily stack on top of each other, enabling thin storage that doesn’t impact much on the view outside of the window behind the blind.

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1.3 Volume

A black and white photograph of the full scale model.

To the left, we see a coloured, detail shot of the rungs featured in the model.

A model of Venetian blinds, warped to resemble a DNA strand. As the brief was to change the logic of our chosen system and reinvent it in a different way, I decided to change the gravity and perception of the system and the object itself. A DNA strand is a good example of the panel and fold system as it takes 2-dimensional planes and folds/twists them around themselves to create a new shape. The horizontal bars seen in a DNA molecule resemble a drawstring blind so I decided to merge the two. Additionally, playing on the chemistry theme of the model, the stand that I used to display the model on is similar in form, to one that you would use to display a scientific concept.

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1.4 Sketch Design Proposals

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reflection

M1 was a good introduction to the subject. It eased us into the concept of having to adapt to several new programs such as Rhino and InDesign, both of which I had never touched prior to taking this subject.

After hours of online tutorials, I modeled the set of blinds – first creating a shape with NURBS, extruding it to become a surface, then capping the open ends via a planar surface to create a solid polysurface (1).

The work that I produced was not grandiose in presentation, but the ideas behind the work were valid.

I am most proud of the sketch model that I created – the DNA-like strand that I fashioned to push the boundaries of my chosen object, the Venetian blind. It was obscure but was completely outside of the box. It had a lovely malleable quality about it, which meant it could be put under compression or tension and not break. In a certain way, this theme aligns with the idea of personal space, the topic that was first introduced in M1. An “area with invisible boundaries surrounding a person’s body into which intruders may not come”, as Robert Sommer describes it (2). Personal space is in fact moldable, however, no matter how much pressure it is put under, it will never break. Personal space will always be relevant to an individual. In my three design proposals, I kept this in mind while devising the designs.

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The Rhino model of the set of blinds, made through extrusion and array.

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2.0 Design Madeline Bosaid, Grace Keysers Laura Brennan, Marco Bastos

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2.1 Design Development Intro

From our individual designs devised in M1, a common theme of frame/skeletal structure occurs. Each of the potential designs emphasise the use of a distinct skeletal configuration, using a variety of membrane materials to determine the opacity of each design. The shared theme of a defined skeletal structure combined with the skin membrane opacity manipulation, was the grounding concept that we chose to take into our final design.

In terms of what was first taken from my M1 model, the linear members of the DNA model paired with the rigid outer arms were reinterpreted into the first proposal.

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2.2 Digitisation & Design Proposal V.1

Our first design is intricate and bold. We have focused on a skeletal system filled in by the repetition of several strings. The design is diverse and allows the layering of the string membrane to create an idea of density. Areas of opacity and transparency can be created freely as desired depending on the spacing of the string.

FRONT

Isometric 18

Drawing

Top

The idea to use Perspex as the material for the frame creates the impression of a floating barrier, as the thread will appear to be suspended from an invisible rung. The transparency of the Perspex creates this effect. We feel that this design reflects our definition of personal space, and has the potential to be manipulated even further.

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2.3 Precedent Research

FRAME, SIMPLIFY, TENSION, PERCEIVED SOLID, INFILL

Description of precedent

“11:11�, Winde Rienstra, 2012 20

A very unique approach to the skin and bone system, it plays with the concept of elements in tension and perceived density. By over laying the fine strings, an illusion of solidity is created. Fluid forms start to arrise from the geometric angles of the string. The design is comprised of a leather frame with a thin white string arrayed in the opeing of the polygonal shapes. Certainly projects past the body as if to push away, while still enabling a sence a transperancy and visabilty.

FRAME, SIMPLIFY, TENSION, PERCEIVED SOLID, INFILL

How can you use this precedent to influence The fragile and thin sting elements add a nice delicacy to the weight of the hexagon. However, the shape of the hexagon is almost becoming too much of a diluted concept. It doesn’t necessarily combine the heart of all of our original designs. The hexagon doesn’t sit well either with a bold frame. Playing more with the linear element of the precedent might be a more practical way to advance our design.

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2.4 Design Proposal V.2 & V.3

The inspiration for this design was taken from the shape and regular structure of the umbrella, the lattice of the crate, the fluidity of the DNA and the form created by the wires of the hanging basket. This design was intended to reflect a simple and diverse geometric form that can be easily manipulated and folded.

Having played with different shapes and fluid geometric forms we decided that the most important areas of the body to protect were the shoulder and neck area.

The asymmetric nature of this design was an aesthetic choice.

Isometric 22

Top

Upon reflection, it was clear that this design was not an accurate representation of panel and fold nor skin and bone systems. The concept of a floating structure was simply not feasible nor realistic, moreover the uniformity of the overall shape was simply too fluid.

This design has the potential to develop further, however the concept of personal space needs to be addressed more extensively.

FRONT 23

Final M2 render The layering of each individual hexagon panel has the potential to explore opacity and texture. It creates an almost scale-like armour that falls with relative ease acroos the body whilst protecting key areas of the body.

FRONT 24

The inspiration for this designs stems from the concept of a shield/armour.

Following on from the hexagonal shape in the previous design, this design reflects a more tangible and realistic model. The model allows the individual to move freely whilst wearing the amour, yet also protects vital areas of personal space. Pushing forward, we wanted to expand on the panel and fold system. We created a concept of panels that can easily be folded/ layered together, creating a sense of fluidity through its rigidity. This design has great potential to develop further, particularly in the material use and shape.

Top

Isometric 25

2.5 Prototype V.1 & Testing Effects

Through the exploration of materiality, the fishing line and its connection to the Perspex hexagons proved to be very fiddly work. It was very difficult to manipulate the hexagons to create a rigid form that was reflected in the Rhino model for Second Skin Design Two. However, what was exposed through this exploration was a delicate and malleable form which has the potential to play with transparency and fluidity.

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We wanted to play with the idea of transperancy - as depicted by the model, it is completely seethrough which enables visability and the ability to play with different layers of opacity.

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reflection

M2 was my favorite module. Here, we were able to join together as a group and come up with a series of designs that targeted the brief. Though we were rigid in the use of the hexagonal shape, there is a vast difference between our first string-like proposal, and our last amour-like model. As such it was necessary for us to make several digital models. The more model that we designed, the more we learned about Rhino, specifically, the understanding of how important it is to normalise a design (3). This means to strip away all unnecessary line work and data so that the file of the model is the least dense that it can be, becoming efficient and streamlined (see figure A). Another key element that we tried to incorporate into our designs was the idea of a developable surface (4). Though it doesn’t fully encompass the meaning, the hexagonal shape that we used for our final design satisfies one area of the definition of a developable surface: “there are a special ruled surface because a tangent plane is always tangent to the surface along an entire ruling and not just a single point� (see figure B). As such the design can be easily unrolled and modelled in a physical form. Though we were conscious of what we integrated into our digital models throughout the module, we could have added extra dynamism and challenge into our ideas. Our final proposal is not particularly bold.

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(a)

Though the cylinder may look like a single piece, the form on the left shows that there are two other pieces sitting on a top face. If the form is repeated though the design, the file could end up being too dense.

(b)

Here we see that the flat plane is in contact with the whole tangent of the hexagon, or the whole face, rather than just at a point.

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3.0 Fabrication Madeline Bosaid, Grace Keysers Laura Brennan, Marco Bastos

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3.1 Fabrication Intro

After the completion of M2, our group was given some vital feedback that has enabled us to move forward into the next stage of our design. Firstly, we were asked to consider extrusion from our base frame and how that would relate to personal space. What kind of materials would we use and why? What is the reason behind placing certain elements where and how could we communicate this effectively in our prototype? We need to take our idea and push it to its limits.

The design is a good base point, however lacking in depth and character. We need to work the idea to its edges.

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3.2 Design Development

To create more diversity in our design, for aesthetic and for practical reasons, we have decided to play with the scale of the hexagons. The shapes will range from large to small, the small aiming to promote flexibility and movement, and the large aiming to promote rigidity and solidity.

During our design process we came up with a few ideas to do with the use of colour. We thought that the use of colour would be a deterant and not be a great reflection of personal space. The use of black, white and clear perspex justifies the idea of personal space in a more realistic fashion. The use of colour would aslo make the design look tacky and cheap. The use of monochromatic colours flows well on the body and also bleeds well into itself.

We also came to the solid decision that we would not have the individual hexagons layering over the top of one another. We would make it clear that they will not intercept with each other, rather, be connected at the edges via links.

A decision was made about the colour scheme to emphasise a natural gradation of colour form dark to clear. We would represent this over the parts of the body where personal space was to be most preserved.

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3.3 Fabrication of Prototype V.2

Experimentation with a form that is forced to be rigid - creates extrusion without having to add any extra material.

Makes use of the shape of the base structure and pushes it outwards to form volume.

White was used around the shoulder and waist area to give an idea of solidity but to not be as striking and oppressive as the darker black. Areas that still need to be protected but do not have as much importance as the chest area.

The solid black was focused around the chest and back area. We decided that, especially for a woman, is a personal area that would make us uncomfortable if intruded upon.

Chest piece that employs a layered effect - added reflectivity and colour dimension.

Clear Perspex was used as an edging to give structure without imposing visually.

These are areas that are the least crucial to protect.

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RIGID FORM

The black perspex promotes reflectivity and a mirrored effect.

Due to the connection of the pieces, fluid movement is possible, without compromising the overall shape of the design. Movement is not restricted at all.

Lightweight and holds to body well - the shapes flow with the natural curvature of the body.

Isometric

FRONT

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3.4 Final Prototype Development & Optimisation At this next stage, we need to add a layer of volume. Having the base layer on its own is not enough to represent personal space.

Keeping in mind simplicity and the idea of sticking to the material that we have, we created a simple, linear, rigid extrusion. This idea could be hard to attach to the base and could even be dangerous, however.

Expanding from the Perspex, we found polypropylene to be a more flexible and diverse material to build with. It essentially has the same appearance as the Perspex, but is more diverse as it is thinner and can be bent easier. This design proposal is a series of “spines” that are nicely closed when the structure is straight, but splay upwards when the design moves. Creates a nice animalesque aggressive appearance.

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We fabricated a “cube” / polygon extrusion to imitate a more bulbous form. Had the idea of not introducing a new material, but rather we would create uniformity by keeping to the same Perspex shape. However, the links jut out quite noticeably, and once attached to the body, may hinder movement.

Here, we designed cleverly placed polypropylene pyramids, that create a spike-like, spiney appearance.

The usage of cloudy material will help to diffuse potential light underneath.

We mapped our combined sensitive areas over a model, to show which areas we would least like to be touched and from what distance.

This was a mutual group decision, and found it to be mostly the same between genders and size. This is the launchpad upon which we mapped the pyramid extrusions.

After receiving feedback, we decided to settle on only two colours: black and clear. We were afraid that the design was looking more like a soccer ball and were questioned on the relevance of having a “between colour�. It makes more sense to only have two colours in which to strongly represent the areas we would most like to protect.

After deliberation and provided feedback, we decided on the pyramid extrusion. A draft is pictured to the right. The material is diverse and easy to work with. The black blocks out visual areas and the cloudy version diffuses light and contrasts with the heavy black areas of the base design. Visually, it makes a clear statement for people to stand away and draws from typical thorn or spine shapes from nature - both threatening imagery.

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Prototype optimisation - Effects

(2)

STRIP LIGHTING Strip lighting is visually effective but cannot be separated into individual pieces. There is no point or position in our design that could conceal a long strip.

LEDS IN A CIRCUIT This requires manual sourcing of each individual component, then precise building. There is a high probability of a fault occuring or incorrect wiring to be done.

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PRE-HOUSED LED LED already housed in a structure, meaning less technical witing, less room for a fault and mistake, non-visible and unexposed wiring.

(3)

VISUAL The lighting piece that we ended up settling for was a stroke of innovation and intrigue. This LED, small and compact with the mechanics already housed in a small circular case, saved hours of technical difficulty and area for faults.

We chose to go with an orange light to contrast from the monochrome colour scheme of the base design. Orange is typically a colour of warning and danger, letting people surrounding know that the wearer does not want anyone to come near. We feared that a standard white light wouldn’t convey the same message of threat, nor would it particularly stand out.

SOUND

Pieces layer over the top of one another, creating a plastic clacking noise.

A flickering effect has been added to the small LEDs to make the piece noticable from up close and afar. It captures attention and gives an added layer of diversity.

By placing several strings of smaller hexagons at the edges of the design, we have created an effect through sound. The jangling sound will warn people surrounding the wearer to not come close and to keep at a distance. By incorporating light and sound, those even at a distance to the wearer will know to stay back.

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Prototype optimisation - Fabrication

900.00 Due to the simplicity of our design, our fabrication methods have remained very stable throughout the process.

We created a file on Rhino that had every hexagon, to scale to be sent to a laser cutting CNC machine. We were able to save time and money on the cutting process as the design did not need extra complexity. We worked out how to arrange the hexagons in order to optimise the cutting process, eliminating any curves that doubled up.

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100mm

Pictured to the left, are the individual nets created to form the pyramid-like extrusions. Each of them vary in base width to be placed on top of the different sizes of hexagon. They also differ in height to create various spike lengths.

100mm

100mm

A justification for clustering the individual triangle pieces around the point, and not the hexagon itself.

The less efficient method, pictured below, requires more cutting then the chosen method, and, due to all of the openings that would be created between each triangle, the structure’s integrity and overall stabilty would decline.

150mm

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250mm

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SMALL 25mm

MED 35mm

LARGE 50mm

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3.5 Final Digital Model

FRONT

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Back

Isometric

Top

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RENDERs - no body

FRONT

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Isometric

The final design, in digital form. Striking. Bold.

Offensive. Rendered to true textiles and with precise accuracy. The shadow projected is one of art, no matter the angle someone may approach the design, the spines are noticed straight away. The design is colourful and glistens in the rendered light.

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3.7 Assembly Drawing

Diagrams showing how the design is put together and its different elements.

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The final photographed design. It is visual, visceral, and loud. The design hugs the body, blocking from view the areas of the body the least wanted to be looked upon or touched. The clear component creates structure without obscuring vision. The spines are bold and clearly demonstrate where personal space needs to be preserved, and from what distance. The light is a cautionary sign, almost predatory, warning to stay away – this sensory experience coupled with the noise that the dangling pieces make means that the design can be noticed from afar. The final prototype is comfortable to wear and does not restrict movement. The embodiment of how personal space can be protected.

3.8 Completed 2Nd Skin 49

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reflection

The last module was somewhat of a struggle for us. We had a good base for our design but we missed the opportunity to develop it to its absolute limits. Despite this, the digital and final physical model that we made were beautiful; eye-catching and vibrant. The rendering process was the most enjoyable aspect of the creation of the digital model for me – seeing a realistic design leap from a blocky, grey mass is truly gratifying. The hands-on idea of making, whether to satisfy a brief or for sheer pleasure was a theory that became clear at this point of the design process, and particularly after reading The Process of Making, by Daniel Charny (5). Having understood the making process and how it might develop or diminish based on modern technology I have a renewed perspective and appreciation of how important it is to make. In this module, we had to physically make our final model, and in most instances, with the aid of digitised fabrication machines such as laser cutters. This kind of technological privilege that we have access to in our modern society has enhanced our design, and allowed it to reach its full potential. If the design was solely to be crafted by hand, accuracy would have been hard to achieve and we may not have had the collective ability or knowledge to make a quality model. Mastering a craft takes time and patience, and we simply do not have the ability to dabble in a new craft, as well as maintain other university commitments. This is why the CNC machine that we used for the majority of our design was so invaluable.

It was fast, efficient, and in the long run, cost effective. A digital enhancement to our making process didn’t defeat what it means to make – it enabled.

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Two rendered “made� visualisations, later to be cut with a CNC machine.

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4.0 Final Reflection This assignment was challenging and highly enjoyable. From the systems uncovered in the first module to the testing of effects and prototyping of Module 3, I learned invaluable skills that I will take with me through the rest of my career.

Commencing with Module 1, the design process was born from a simple system – in my case, the panel and fold system. I chose a Venetian blind, and meticulously understood how it worked, and how I could further a design from its features. There was certainly an element of risk involved in my choice of object as it wasn’t a subject one would typically associate with the panel and fold system, but regardless, I thought it had great qualities that I could expand upon. When it comes to digital modeling, I have had no prior experience, so I greeted the workshops and the task of digitizing our selected object with an open mind. This is the aspect I enjoyed most about DDF – not only did I get to experiment with and learn Rhino, I also used the FabLab and InDesign for the first time too. Though my design proposals for M1 were quite alike, I was happy with my design process and progress, and was feeling equipped for M2.

M2 saw me grouped with 3 others with similar designs, which gave us a great foundation to work upon. We tossed around many ideas, and first settled on a concept that combined M1’s physical attributes. A thick, rigid frame with a delicate, linear infill. As we developed this idea we realised how impractical our choice of material was – creating the right design in Perspex was expensive and delicate. Using string between frames was time-consuming and as we modelled the design in Rhino, the intricacy of the density of NURBS made the file slow and lethargic. This was not a path to pursue. Unfortunately, using advanced modelling techniques such as CNC machines means allocating a lot of money out of your own pocket to the trial and error of the design. We spent a huge amount of money on printing and fabrication – an area of the course that perhaps should be partially subsidised or discounted in the future.

We struggled to move from this point, to reimagine our design completely, but we soon decided on an idea that would later lead to our final proposal. Easy to model, build and print, the design was simple but was not lacking in visual interest. We learned that an idea does not have to be complicated for it to be effective. Though risk taking is important, it may not lead to a better result in the end.

M3 posed an interesting design predicament for us. Our idea was very simple and so material exploration and development could only be minimal as a result. If we had foreseen the design process, maybe we would have altered our proposal ahead of time. We found this module the most challenging, and we missed our opportunity to test and prototype. As a result, the final proposal did not reach its potential, nor did it fully embody what we wanted from the design.

Our final model is certainly striking, and our Rhino renders are visually interesting too, however the complexity of the design is lacking, and between the four of us, the amount of work that was done was barely enough. It is disappointing. I have learned to be more forward in allocating work to group members, as well as how to time and project manage a task such as this one.

Overall, despite the challenge and our shortcomings, I enjoyed the design process immensely and would highly recommend this subject to any new student. The skills that I have taken from these collective modules are essential, and I now have an edge on other students who do not know how to use Rhino or InDesign etc. Thank you for the support of the staff and for this opportunity.

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5.0 Appendix

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5.1 Credit CREDITS Page Cover 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46

Drawings

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Madeline Bosaid

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Computation XO XOV X X

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I X X I

I X X X XI X X O XI

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Laura Brennan

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Marco Bastos

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Grace Keysers

Model Fabrication XO XO

X XO XO O O

X XO XO O O

O O O O

O O O O

XOV

XOV

X XO

X XO

X X

O O XO XO

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O O XO XO

Model Assembly

Photography

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Writing

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XOVI VI

O X X

OVI

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OVI OVI

XO XO

X X XI X X XI XI XI XI X X X X X XI X XI XI X X X X X X X X X X X X X

Graphic Design X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X

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Drawings I

Computation

Model Fabrication OVI OVI OVI OVI OVI OVI

XO

XO

XO XO

XO XO

XO XO

XO XO

Model Assembly OVI OVI OVI OVI OVI OVI

Photography X X X X X X

Writing

X X X X X X X X X X X

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Graphic Design X X X X X X X X X X X X X X X X

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5.2 Bibliography

1. Cheng, R. 2008. Inside Rhinoceros 4 / Ron K.C. Cheng. Clifton Park, NY : Thomson/Delmar Learning, c2008.

2. Sommer, R. 1969. Personal space : the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J. : Prentice‐Hall, c1969.A 3. Scheurer, F. and Stehling, H. _2011_ :Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 _4_, July, pp. 70‐79 4. Asperl et al, 2007, Surfaces that can be built from paper / In H.Pottmann, A.Asperl,M.Hofer, A.Kilian (eds) Architectural Geometry, p534‐561, Bentley Institute Press 5. Charny. D., unknown, Thinking Through Making, unknown.

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