Unfold. Recharge.

DIGITAL DESIGN & FABRICATION SM1, 2016

UNFOLD. RECHARGE.

Malak Noureddine El Moussaoui

757018 - Tutor: Michelle James - Group #1

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TABLE INTRODUCTION......................................................................................................................5 M1: IDEATION.........................................................................................................................6

- Measured drawings...............................................................................8 - Digital Modelling...................................................................................10 - Reconfigured Object...........................................................................12

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CONTENT

M2: DESIGN............................................................................................................................16 - Design Proposal #1...............................................................................18 - Personal Space Study......................................................................20 - Design Proposal #2...............................................................................22 - Precedent Research........................................................................24 - Design Proposal #3...............................................................................28 - Prototype #1.....................................................................................30 - Prototype #2.....................................................................................32 - Testing Effects...................................................................................36

M3: FABRICATION..................................................................................................................38 - Feedback Response.............................................................................40 - Digital Modelling...................................................................................42 - Assembly................................................................................................44 - Sequence..............................................................................................46 - Adding Effects.......................................................................................48 - Final Model............................................................................................52 - Different Positions..................................................................................56 - Dark Environment..................................................................................58 - Portability & Storage.............................................................................62

M4: REFLECTION.....................................................................................................................64 APPENDIX...............................................................................................................................68

- Credits.....................................................................................................69 - Bibliography...........................................................................................70

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INTRODUCTION During a long working day, one would feel the need for a short break to clear their mind and rest.

An escape from what’s around them, into their quiet relaxing zone, to refresh their senses, unfold new ideas, and recharge the body and mind.

This journal demonstrates the development of the sleeping pod, inspired by the panel and fold system of everyday objects to create a whole coherent experience.

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M1. IDEATION

Inspiration is all around us.

Everyday objects have become so familiar that we rarely inspect them with curiousity.

But they are all the sum of previous ideas and innovations which were at some point very valuable. If we study them carefully, we find more complex systems and possibilities waiting to be explored.

In this module, an expanding file is studied as a panel and fold system, which would later on inspire furthur ideas.

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32mm

MEASURED DRAWINGS PLAN 261mm

135mm

FRONT ELEVATION

The dimensions of the file were carefully measured using a measuring tape and drawn manually. Orthogonal photographs were also taken at some viewpoints then traced out using isograph pens.

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SYSTEM ANALYSIS

DISASSEMBLED FOLDING ELEMENT: HORIZONTAL SECTION: STATE:

FULLY EXPANDED

AT REST - NO FORCE

FULLY COMPRESSED

The file is disassembled, removing the limitations put to its movement by the outer shell. This allows a controlled study of the folding element at different states of compression/expansion.

228mm 126mm

The sections show how the connection to the outer shell affects the folding mechanism. By compressing the lower ends of the folds together, they expand only from above, thus creating the curve.

SCALE 1:3 SECTION - OPEN

264mm

SECTION - CLOSED

24mm

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DIGITAL MODELLING The expanding file consists of 3 main parts: outer shell, folding sides and inner dividers.

The folding sides are the main elements of the mechanism, aided by the outer shell. Modelling these folds consisted of drawing the main circular track and dividing lines so that the folding planes could be determined.

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SKETCH DESIGN PROPOSALS The expanding file works as a whole, incorporating the outer shell and folding sides uniformally.

This inspired the design of a folding sleeping pod, as a unified entity. The pod would function by folding to create an outer shell, protecting a fragile center.

Previous design sketches (top right) were based on folding but did not satisfy the needs of sleep.

So, a brief was made to address the user’s needs, physically and emotionally: - Exterior: strong, protective shell, indicative, repelling, folding, dual-function, portable.

- Interior: sound-diminishing, dark, comfortable, sleep enhancing.

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RECONFIGURED MATERIAL 1 A zigzag pattern is made from the combination of the vertical folds of the folder and the zigzag motion at the top of those folds.

By folding the sheet upward, a mountain is created, downward a valley. Repeating this motion creates a strong yet flexible surface, capable of expanding and compressing.

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The material used is 80 gsm Kraft paper.

It is recycled, relatively coarse and strong, yet flexible.

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RECONFIGURED MATERIAL 2

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The same technique is used again, this time with additions.

The folding pattern can be manipulated in many ways, allowing a shape-shifting structure. By changing the direction a fold different outcome is produced.

The reconfigured object here is photographed from different angles, showing how its shape shifts.

Just like the folding sheet, the whold object can be compressed into a relatively small size.

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M2. DESIGN in collaboration with

Emily Thomas & Diana Ong

The designing process was an integration of both digital and manual effort. The two cannot be seperated, as each covers the area where the other is limitted.

“Yet making is also an active way of thinking and can be carried out with no particular goal in mind. In fact, it is here that innovation is likely to occur.�

(Charny, 2011)

17 Digital model Detail

DESIGN DEVELOPMENT

DESIGN PROPOSAL 1

Using Rhino software, a basic outline representation was digitally modelled. It served as a starting point to use as a surface for patterns to be explored upon.

Front elevation

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Side elevation

Perspective

Attempting to develop the previous basic outline resulted in a feather-like design.

The structure looked efficient, however, limitations were put by the size of the structure and the many layers it needed to be constructed.

Layering would make the structure heavy and would affect the interior’s pressure and temperature.

Also the design did not cover a sufficient personal space for the user to feel comfortable.

This lead to the study of personal space.

Side elevation

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PERSONAL SPACE STUDY

When sleeping, a person is very fragile and vulnerable. Being in a public area, a sleeping person would need to feel protected and safe, starting with their personal space.

Different people have different perceptions of personal space. It depends on many different uncontrollable factors, such as the person’s character, situational factors, the nature of the surrounding, personal ideals or culture.

Therefore, as a product must be optimised to suit different users’ needs, the sleeping pod must be capable of covering as much personal space possible.

This lead to the 2nd design proposal.

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DESIGN DEVELOPMENT

DESIGN PROPOSAL 2 The studied personal space is outlined digitally, creating a basic surface which is then manipulated.

Two variations of the design were modelled, attempting to address different positions.

Interior

22 Perspective

Detail

The design is made from panelling the simple triangulated and squared modules on the curved surface, depicting personal space.

This design proposal responded more to the need of personal space but restricted the folding mechanism.

Folding was only used as an exterior ornament. We wanted to incorporate the folding as a practical mechanism and function.

Side elevation

Panelled elements

Rendered Perspective

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PRECEDENT RESEARCH

The Puppet Theatre uses reflective folded surfaces along its walls and ceilings. The reflective, glossy and sharp surface can be alerting and indicative. When a people see their reflection, they automatically understan that they cannot enter furthur.

It is a solid indication of stopping and alertness.

Puppet Theatre, Huyghe & Le Corbusier

USAFA Cadet Chapel, Walter Netsch of Skidmore, Owings, & Merrill The USAFA Cadet Chapel’s exterior is a repetitive pattern of sharp edges protruding, which gives a sense of protection to something fragile inside. Indeed the interior is more fragile and emotional as it is a spiritual place. It is lit with just enough subtle light over folded planes, creating an emotional light interplay.

These precedents inspired the design of the sleeping pod to function both physically and emotionally using light.

The exterior needs to alert people of a sleeping person inside. So, lights are used in between sharp folds as in the chapel, creating a subtle yet clear message to the surrounding environment.

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However, testing effects while digitally designing was limiting. It often led to exaggerated forms and shapes which might not always function. And since the folding mechanism was crucial to our design, we had to make sure the form and effects function physically.

So, it was inevitable to go back to manual designing, atleast to get a clearer idea and strong basis that actually worked before heading into digital design.

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MANUAL PROTOTYPES

Manually folding different materials gave us a clearer understanding of how this mechanism works, how slightly different angles altered the form completely, how different materials felt and bent with different thicknesses.

It is a very different experience when one handles objects physically. You get to touch, feel and play with the material, which enhances creativity.

“When you’re absorbed in making, unplanned things happen. The experience is intuitive, like playing sport, and it can be meditative, like making music. This sensation of effortless flow is a reward in its own right, but it’s also a situation of intense learning.”

(Charny, 2011) 27

28 Digital model-unfinished

DESIGN PROPOSAL 3

COMBINING IDEAS The design proposal is the sum of all the previous work done.

It combines the 1st proposal’s mechanism with the 2nd proposal’s personal space, and attempts to create effects from precedents.

When reaching this design, it was more suitable to design it digitally first, in order to view it to human-scale or manage major alterations before making a physical prototype.

Side elevation

Front elevation

Rendered perspective

29 Modelling the panelled element

PROTOTYPE 1 Since the designed pod would work as a unified, whole entity, the prototype had to be a full model of smaller scale. This allowed us to test the mechanism and see how it works altogether as an instrument.

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MATERIAL: Paper SCALE: 1:5

Digitally manipulating the scale of the model allowed us to understand how it would cover the user in a more realistic way.

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PROTOTYPE 2

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Exterior detail

Another prootype was made to explore different materials. It is thicker than paper and, therefore, was harder to fold, which limited the rotating mechanism.

MATERIAL: 80 gsm Kraft paper.

SCALE: 1:5 However, on a 1:1 scale, the material’s thickness would not restrict motion, as was explored with previous manual prototyping.

Front view

Side view

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Exterior detail

The interior of the pod has a more delicate form, with long lines and diagonal folds. The exterior is sharper and has an added pattern (below) with openings that expand when compressed.

100 mm

150 mm

Interior detail

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TESTING EFFECTS

Again, digital editting helped with imagining the small prototype as a final model ready to be used.

This time light effects were experimented in attempts to create an indicative sign for the surrounding to acknowledge the sleeping person in a darker environment.

Different patterns were tried, but the main feature is to have the light hidden inside the fold, such that only he illumination appears along the long sharp folds.

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Interior detail

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M3. FABRICATION in collaboration with

Emily Thomas & Diana Ong

Fabricating a final product is a challenging yet rewarding stage. It is this stage where unexpected problems are encountered, problems that were not yet visible during the designing phase. While fabricating, little details must be made with care, as this makes all the difference.

“Sometimes things go wrong in making.

Unskilled makers, hitting the limits of their ability, might just stop. Experts, though, will find a way through the problem, constantly unfolding new possibilities within the process.�

(Charny, 2011) 39

RESPONSE TO FEEDBACK

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SHAPE

BACK

The outer form of the pod was rectangular and boxy, which also took up unnecessary space. This was fixed by altering the angles of the folds such that the shape becomes sharper, taking the shape of the personal space.

The back part of the pod seemed like a seperate element. It was integrated more into the design by making rotating the pod around back instead. The pod would become an integrated whole piece.

EFFECTS As the previous attempts with the prototype were successful, the exterior light effects would be carried out in the final model. In addition, the interior would be perforated carefully, to create a starry night sky for the user to sleep under.

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DIGITAL MODELLING “Digital models, which aim at describing and simulating aspects of real objects, need to be set up carefully, with the right focus and the appropriate level of abstraction to deliver meaningful results.�

(Scheurer and

Stehling, 2011)

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Digital model detail

Top view

Back perspective

The design is digitally modelled by panelling the 3 patterns over the altered surface form.

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DIGITAL TO MANUAL

Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing, Spon Press, London c2003.

The nature of the material used and the folding mechanism imposed a challenge as the material will have to be only scored. So, digital aid (AutoCAD) was only used for obtaining the final measurements and drawings to follow manually.

Through digital design and manual fabrication, a certain uniqueness and distinctiveness is preserved in the product. As mentioned in “The Power of Making�, workmanship is applied with much care and dexterity, utilising different techniques and resulting in very efficient products. By joining digital design with manual fabrication, we obtain a more effcient combination, as argued

by David Pye and mentioned in the lectures.

The Nature and Art of Workmanship, David Pye, 1978 (Week 6 Lecture)

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Red - Etched on the top surface Blue - Etched on the bottom surface Grey - Grid lines (not shown on final design)

ASSEMBLY An exploded assembly diagram was digitally drawn from the final digital model. This would be used as a reference for connecting the different parts together. Once all the elements are folded, hinges and tabs are used to assemble them.

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FABRICATION SEQUENCE

Folding the scored paper to create the volume of different enclosure parts:

Inserting a metal frame to hold the folded parts onto:

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Connecting the frame together with hinges and rivets:

Sewing press studs to secure the closure of the back part when used:

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Exterior Detail

ADDING EFFECTS

EXTERIOR LED lights are inserted inbetween the folds of the square pattern. This helps achieve the wanted emotional effect, where the light source is hidden but only its illumination appears fading over the narrow sharp folds.

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ADDING EFFECTS INTERIOR

In contrast to the sharp, repelling exterior, the interior wraps the user with a soft and soothing night sky scene. Different constellations are intuitively perforated into the sleeping pod for the user would find and wonder about as they fall asleep.

It is a peaceful and soothing experience that takes the user’s mind off of work’s stress and into a contemplative, thought-provoking nap afterwhich they are more energized, mindful and refreshed.

1. Chameleon: camouflage 2. Columba: the dove sent by Noah which returned with an olive branch, signifying hope and survival.

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3. Scutum: literally ‘the shield’ in Latin, representing the shield of King Jan III Sobieski who won the battle in Vienna in 1683.

4. Centaurus: the wise and intelligent centaur 5. Lyra: the instrument used by Orpheus to put creatures to sleep. The music is so beautiful it is said to even charm rocks. So it would be impossible to stay awake in the sleeping pod under the spell of the Lyra.

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FINAL

MODEL

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DIFFERENT POSITIONS - FLOOR The sleeping pod is tested in different positions to ensure it is optimisable to different user’s preferences.

The three positions are successfully acheived and demonstrated.

Side Elevation

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Perspective

DIFFERENT POSITIONS - DESK

Front Elevation

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Perspective View

Front Elevation

DARK ENVIRONMENT In darker rooms such as a lecture hall, the user will need an exterior that alerts nearby people of their presence in order to avoid collision or interruption of sleep.

The light effect creates a subtle yet clear alerting message, with its sharp edges and gloomy cocoonlike appearance which repels people away.

Exterior Detail

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PORTABILITY & STORAGE The sleeping pod can be easily folded to become flat. It can be carried around to use in different spaces.

Its form allows it to fit nicely behind a desk or under a bed, to be unfolded when required.

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The combination of the 3 modules sets an example of the general stages of design, in a simplified, progressive way. The gradual development from an expanding file to a sleeping pod happened as an accumulation of thoughts, ideas and inspirations throughout the different modules.

A wide range of tools was used (diagrams, digital modelling, manual prototypes, photography); a workload which reinforced vital skills such as planning, time management and visual communication.

However, the most important key has been teamwork. Sharing ideas and working with colleagues developed the design significantly.

Aside from designing to the satisfy aesthetics and function, the design was treated as a consumer product, aiming to create a sleeping pod which can be purchased by students and office staff. This was another feature taken into consideration in terms of material and cost.

One aspect that might have been improved is the usage of laser-cutting. The assembled parts of the pod were cut manually, following a digitally laid out sample. This was due to time-constraints and preference of relying on manual work. With teamwork, the manual work was much faster.

But if the product is to be mass-produced, laser-cutting would be more appropriate.

Nonetheless, manual work was an important aspect in the designing process. While making prototypes by hand, one gets the chance to explore the material and its response to different forces.

Throughout the different modules, many problems where encountered. Sharing ideas with team members, colleagues and tutors was valuable to the progress of the design. Problems were directly tackled and pushed through.

This was one of the most important learning outcomes; to be confident with your idea instead of doubting it and starting all over again.

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As Paul repeated to us,

“There’s no such thing as a bad idea, only a poorly executed one�.

M4. REFLECTION

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APPENDIX

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ACKNOWLEDGEMENT

Many thanks to Paul, Rosie and Michelle who dedicated their time to support and inspire students’ work, and to Diana and Emily, whom it was a great pleasure to work with.

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CREDITS

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BIBLIOGRAPHY References Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing, Spon Press, London c2003.

Charny, Daniel. 2011. Power Of Making. London: V & A Publishing and the Crafts Council.

Lisa Iwamoto, Digital Fabrications: Architectural and Material Techniques. New York: Princeton Architectural Press c2009.

Loh, Paul, 2016. Digital Design and Fabrication, Semester 1, Lectures.

Pye, David. 1978. The Nature And Art Of Workmanship. Cambridge: Cambridge University Press.

Scheurer, F. and Stehling, H. 2011. Lost in Parameter Space? IAD: Architectural Design, Wiley, 81_4, July, pp. 70-79.

Images Expanding file http://www.officeworks.com.au/shop/officeworks/p/expanding-file-receipt-size-13-pocket-red-qu287rd?cm_ mmc=google-_-pla-_-Expansion%20Filing-_-QU287RD&cm_mmca1=NULL&cm_mmca3=conversion&cm_mmca9=columb us&CAWELAID=620015440000145032&CAGPSPN=pla&CAAGID=26186486905&CATCI=pla-62683941200&catargetid=6200 15440002449137&cadevice=c Sea Shell https://pixabay.com/en/sea-shell-clam-ocean-sea-shells-1162744/ USAFA Cadet Chapel by Walter Netsch of Skidmore, Owings, & Merrill http://www.archdaily.com/63449/ad-classics-usafa-cadet-chapel-skidmore-owings-merrill-2 Puppet Theater by MOS http://spaceinvading.com/bookmarklet/Images/02070912465982172004_LeCorbusierPierreHuyghe_PuppetTheater_1. jpg.

Time Lapse video https://www.youtube.com/watch?v=IgboEDWaLl0&feature=youtu.be

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