DIGITAL DESIGN + FABRICATION SM1, 2016
AN EXPLORATION TO FIND THE IDEAL PROTECTIVE HEADPIECE MARTEENE SARRIS
(762470 MICHELLE - MONDAYS; 12:15-2:15
1
2
3
4
MODULE 1 - IDEATION 5
THE EGG CUTTER The egg cutter was initially measured using photocopies, then traced over t o obtain an accurate and measurable representation. The rhino models were created using the measurements derived from these drawings to form the base of the models. as a result of the egg cutter comprising of the three varieties to how the egg could be cut, all three were explored as highlighted in the images. The angle was derived from the drawings (60 degrees) and was useful in creating accurate models in rhino. Dimensions: length:105mm (including handles) width:40mm at centre distance of last cutters planes: 10mm
MEASURED DRAWINGS: 6
SYSTEMATIC ANALYSIS The egg cutters sit on top of each other within the white holder; the thickness identified at thebottom is the way in which they layer on top of each other. The variations of thickness is highlighted and represents the outer thicker plastic and the thinner elements which are inside of the cutter used to slice through the egg istels. The gap when stacked is 10mm (the thickness of the thicker plastic).
7
SKETCH MODEL AND VOLUMES: The ideology behind the sketch model (pictured above) was to extract the versatility which the egg cutter has (through the various cutters and shapes) and create a design which contracts and expands, to follow the needs of an individuals personal space. The model photographed above also had varying thicknesses in the paper cuts, this was to cover or expose the places most needed (discovered to be mostly around the face and chest) and expose others which dont effect the comfort of the individual.
8
RECONFIGURED OBJECT : PROPOSAL ONE
The sketches below have a human emcompassed by a structure which protects them whilst they sleep. contracting and expanding depending on privacy needs, the object takes the 60 degree angle derived from one of the egg cutters and uses the geomtry to shape its protective frame.
SKETCH 1 - close up of geometries explored with 60 degree angles being the base of the design. sketch 2 -individuak inside the design highlighting protection and security , as well as the relationship between the design and personal space
If built or further developed, this desiign would be built of either a structural sound and rounded plastic and or timbers such as mdf to provide the structural support needed. perhaps through development a sheet like fabric could encase some parts of the design for added comfort and privacy.
9
RECONFIGURED OBJECT: PROPOSAL TWO
The second proposed desiign developed( left) was a wall based pod like structure which would envelope the individual inside, have cushioning for support and possibly extend (the cushion base) from the wall for a better suited angle for sleep. This design extracted from the egg cutter the rigid spacing between each rounded wire like substructure creating the wafflining in between the base. the individual would be able to open and close this mechanism by a hinge like connection to which like two doors meeting in the middle the shell would open and allow the individual to enter. the length which is dotted in the diagram highlights the width of it from the idnvidual to the end provdiing personal space requirements both with and without the shell being opened. LEFT: inspirational cutter of three chosen for design.
10
RECONFIGURED OBJECT: PROPOSAL THREE
The final reconfigured object proposed derived from the last eff cutter. the designwas similar to the previous proposed however this design wasnt to be mounted on the wall. this design is on the ground and acts as an entire pod which envelopes the individual. they would be hidden completely by the individudal bars which are across the shell,. The base follows the curvature of the body and in the way one would sleep normally, and uses it to structurally support an individual. the base would be hollow to make it easier to be put together . They would also have the rigging which the shell like cover has not only for aesthetic and to continue the section and profile theme throughout. this design takes into consideration the way in which one sleeps, the various spaces needed as well as the way to communicate they key design principles in various ways.
SKETCHES ABOVE OF THE MODEL WITH SECTION, PLAN AND ELEVATION
Furthermore, this modules understanding and extrapilation of key mechanisms within common objects and using them to facilitate sleep assisted finding geometric patterns through various processes such as photocopying, photography and recreation. the module’s exploration of techniques which help find measured drawings and experiment with rhino is the first stepping stone towards creating a sleeping pod which redefines those which stand today.
11
MODULE 2 - FABRICATION TEAM MEMBERS: IKQ
12
INTRODUCTION The design brought forward through to module 2 was derived from ikq’s m1 which had an individual encompassed by a bed like structure to provide the security and protection needed to facilitate sleep. both ikq and i had similar ideologies drive our m1 designs and combining these themes is what lead to m2’s fabrication. however, as a result of the time and size constraints which this project contained, the ability to capture these themes and focus them where personal space is both most needed emphasised the head and shoulders of the body, resulting in the head and chest being focused on for the pods design.
The design decisions as mentioned previously lead to the curvature which was derived from the bed like structure and focused onto the top half of the body. it encompassed and protected the individual within whilst using the backing of a wall as an instant level of protection or security to be felt by the user. the design had the waffling at the front as a result of the section and profiling which was explored during m1 - this assisted in providing not only aesthetic but also structural stability to the design. This module discussed heavily the role of materiality and expressing personal space in being able to ensure people were comfortable. The next page has rhino models with a body mesh representing the m2 design in both top and front view.
13
LEFT : TOP VIEW OF MODULE 2 DEVELOPED SLEEPING POD DESIGN. RIGHT: FRONT VIEW OF DEVELOPED SEEPING POD DESIGN
14
PRECEDENT AND FURTHER DEVELOPMENT The next page has photographs of the prototype with effects and experience being tested throughout; the design had the cushions added for comfort; the effect of the offset waffling was for aesthetic as well as followed the curvature in a more enjoyable way; however the offset also enabled the varying needs of personal space and visbility to be better communicated.
As discussed in module 2 the precedent to the right was from the london architecture associates and used the waffling lock to communicate section and profile, above is the experimentation which was explored to decide whether the rigidi or offset waffling would be used in m2’s final desin, and the offset was decided on. The key phrases focused on during this module was contradictory fluidity through the rigidity of materiality, privacy and security.
15
PROTOTYPE OF M2 DESIGN
16
MODULE 2 - FABRICATION team member: IK-Q
17
After M2, the design process developed past the three piece design initially found in M2 to a ‘hexagonically’ inspired and shaped head piece focused design which blocked out sound as a result of the materiality chosen. The reason the design changed from a 3 peices to one was a result of it appearing to not have it communicate a synthesised form despite the function having been acheived, the emlagimation of both function and form was what was aimed for and by combining both form and function, the developed design lead to the hexagonical appearing infreastructure to emerge. However, before the hexagonical shape was derived, the three peices were combined together to make one curvature embracing the m2 piece however, this was then explored further, taken and put horizontally not just vertically enabling the points which the curvature held to be pertruded 360 degrees and not just in the one facet in front of the face, thus creating a helmet like design which used the waffling (continuing to be offset) to assist in structurally supporting the design. The readings from module 3 highlighted role which manufacturing and the physical ability to compose what has been designed places in preventing or propelling design. the various approches today enable these hurdles to not restrict designers how they once did . they also both highlighted the role which technology such as nabers and nurbs have played in propelling design and helping in synthesising design which further hilighted the perks of using rhino in the design process. MATERIALITY CHOSEN: accoustic foam board
18
DESIGN DEVELOPMENT AND FABRICATION 19
DESIGN TRANSITION 20
FINAL DESIGN AND FABRICATION 21
22
ASSEMBLY DRAWING
23
FABRICATION SEQUENCE
24
The phsyical making process and the mass manufacturing process - how creating designs which can be mass produced without sacrificing the ideology which established the design itself. This module changed the way in which i see everything that has been designed because knowing how much time, effort, research, development and prototype making goes behind every entity which is made is something i didnt appreciate fully until having to do it myself.
CONSIDERATIONS:
This module changed the way in which i approach design in that the physical execution now plays a larger role in the way in which i think about synthesising a design; the versatility of various materials enabling ways around problems which can arise from other materials limiting design highlight how hurdles or initial barriers can lead to other opportunities.
25
M4 REFLECTION
26
Looking back on the 12 week semester and the progression which the designs of the sleeping pod, but also the analysis, development and understanding of the entire process of design has evolved has been the most prominent aspect of the design. the way in which design, the process which is explored and the level of analysis and development continues to evolve however currently has extended further than ever before Like any subject, there are elements which are expected to be learnt and understood by the end of the semester, for ddf, a basic level of rhino, an understanding of the complex world which is design especially in regard to manufacturing and physical implementation, however the subject has also illustrated the forever evovling, continuously contradiction and paradoxical yet all explored in similar ways to execute very different results; this freedom in expression, exploration and execution was unexpected yet reminded me personally of the individuality and personalisation which design carries between individuals and the role that plays in creating unique and innovative designs. Challenges were present throughout the entirety of the semester, whether it be technological barriers as a result of a lack of familiarity with the program or time constraints, obstacles, like in any processes which requires time and in depth thought have these barriers thrown at the situation, however through these barriers comes the creative solutions which normally better the design or the ideologies which propel the design. i found at times the feedback and execution of the feedback was a difficulty - being able to implement ideas recommended or prompted and then integrating it to then cause other problems was a consistent hurdle which was difficult to master however, the design process ultimately will always be like this, always something one likes, one doesnt, one likes in part and finding the harmony and the ideology to support the change, like or dislike is something which is always going to be explored. 27
Improving the design would be probably to revert back slightly to the m2 design but extrapolate the curve everywhere instead of having it be the hexagonal inspired shape it became, the execution of the waffling seemed more successful and visually appealing with the initial curvature used, despite the strength in the hexagon in communicating the privacy, security and retaining an element of section and profile which echoed throughout the entire semester. The themes of module four which spoke were ever present throughout digital design and fabrication without realising was the role which mass production, design on a large/real scale and the amalgamation of design, art and function, place in influencing the design process and how we perceive design collectively was incredibly interesting. The quote which encapsulated this semester for myself and exacerbates the knowledge, skills and rounded perspective which digital design and fabrication has echoed through my design process below is the last statement which unknowningly both began and ended this semester.
“merging production and design into a common language of digital information� Building the Future: Recasting Labor in Architecture
28
CREDIT: ALL RHINO MODELS DESIGNED BY IKQ (SLIGHT ALTERATIONS AND FINISHING TOUCHES DONE BY MARTEENE SARRIS); MODEL IN PHOTOS MARTEENE SARRIS, ALL SKETCHES AND DIAGRAMS DRAWN BY MARTEENE SARRIS, PHOTOGRAPHY TAKEN BY IKQ AND FILTERED/EDITED BY MARTEENE SARRIS;
http://www.bdonline.co.uk/swoosh-pavilion-swoops-into-view-at-the-aa/3116685.article http://www.arch2o.com/swoosh-pavilion-architectural-association/ http://www.dezeen.com/2008/07/15/swoosh-pavilion-at-the-architectural-association/ Sommer, R. (1969). Personal space : the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J. : Prentice-Hall, c1969. Enric Miralles,Carme Pinos, “How to lay out a croissant” El Croquis 49/50 Enric Miralles, Carme Pinos 1988/1991, En Construccion pp. 240-241 Surfaces that can be built from paper / In H.Pottmann,A.Asperl,M.Hofer, A.Kilian (eds) Architectural Geometry, p534-561, Bentley Institute Press, 2007 Scheurer, F. and Stehling, H. _2011_: Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 _4_, July, pp. 70-79 Architecture in the Digital Age - Design and Manufacturing /Branko Kolarevic. Spon Press, London, c2003 Building the Future: Recasting Labor in Architecture/ Philip Bernstein, Peggy Deamer. Princeton Architectural Press. c2008. pp 38-42
APPENDIX 29
30
31
32