m3ddf by Naomi Ng

DIGITAL DESIGN + FABRICATION SM1, 2015 M3 JOURNAL - PANEL AND FOLD Naomi Jemima Ng and Samuel Coleman 699616 & 586363 Michelle James

Introduction

During M2, our group:

Analyzed how psychological perception results in physical reac-

tion of acting out as personal space is invaded, making specific reference to the theory of defense mechanisms.

Refined

our design through digital modelling, distinguishing each component that needs to created and assembled. Each category is then optimized to ease assembly or to have a stronger response to personal space.

Created prototypes that tested function, mechanics as well as material suitability and lighting effects. Eventually, we decided to use 300gsm Card and PP plastic for shards and MDF for the frame.

Design development

MAIN POINTS FROM FEEDBACK

1) laser cutters/card cutters will be utilized for frames, lifting shards and bloom-

ing shards to increase accuracy and speed. Templates will be created digitally through panelling tools and unrolling commands.

1) Utilize Fab-Lab to increase efficiency 2) consider how the components attach to the body and look at the overall design

4) Instead of a round tip ( as tested from prototypes), a fitting hexagonal pyramid would be placed as core for a maximal effect.

3) consider weight as an issue

4) increase visual impact of blooming shards

5) the 30 seconds of film will likely involve the gradual lifting and sprouting of shards, ideally layer by layer (as tested in our first prototype) to empha-

5) Consider choreography of your 30 second film.

size fine and careful movements.

2) components will be attached through various methods such as through fish wires (as part of mechanics system) or tessellated hexagons that were inspired from inital sketch models from M1.

3) we decided to use mdf for frames and 300 gsm card/White pp sheets for shards. All materials are relatively lightweight. If Weight is not self-supporting, an underlayer would be implemented.

plan: arms down

back perspective

Frame detail

plan: arms up

perspective

side elevation: arms down

side elevation: arms up

Reading Response Wk 6

The back of our design, utilizing tessellation to create a surface that could adapt

Architecture in the Digital Age - Design + Manufacturing/ Branko Kolarevic, Spon Press, London c2003

to the form of the human body.

INCLUDE IMAGES FROM THE TEXT

Briefly outline the various digital fabrication processes. Explain how you use digital fabrication in your design? The reading describes the ways in which digital design could be transformed into physical, highly curvilinear models. The reading touches on a few key methods of manufacturing, including:

DIAGRAMS OR IMAGES OF YOUR DESIGN

A combination of smart materials and triangulation creates a highly developable surface with dynamic movements.

Like our design, tessellation of small planar surfaces create highly curvilinear surfaces

    

Subtractive fabrication- involves cutting or abrading materials away, leaving de sired forms from an existing material. It is mostly used amongst our designs Additive fabrication- such as 3D Printing methods Formative fabrication- the reshaping of materials such as moulding or die-casting Surface strategies- modifying surface of materials through techniques such as spray painting Production strategies- focusing on the method of manufacturing and production, including methods such as tessellation, triangulation, contouring and unfolding.  Use of new materials- such as composites create large scopes and new opportunity ties for designs, increasing desired aspects such as reduced weight and strong bonds from Carbon Fibres. The responsive materials to the environment (such as towards temperature and humidity) also creates dynamic and interactive design possibilities. Our design, like many others, focuses mainly on subtractive fabrication, utilizing techniques such as laser cutting and contouring. Surfaces created from subtractive enable us to form developable surfaces that create extremely curvilinear surfaces through triangulation and tessellation. Frames, on the other hand, utilizes sectioning and contouring to create skeletal ribs to take form of the human body.

Reading applied to design How does the fabrication process and strategy effect your second skin project? 1) The use of subtraction fabrication such as laser cutters not only increased efficiency of process and sped up production time for the lifting and blooming shards; it also provided accurate and clean finishes to assist composition and assembly.

(2) creating accurate notches using a 3-5 directional laser cutter would ease production process of frames.

2) Contouring methods also assisted production for the skeletal frames that hold up the shards. However, the two directional laser cutters limited the way in which pieces were assembled, as pieces could only be notched at perpendicular angles. Ultimately, our design was notched through filing holes to create an angle. Access to 4-5 directional laser cutters would enable much more efficient and accurate notches, easing production assembly. 3) Without cost and availability constraints, new materials could also be implemented to our design. If Smart materials were incorporated, our design could more closely respond to personal space by having lifting shards rising up under change in temperature as user may change in levels of comfort. This can eliminate the need for physical movement and alter our focus into a more psychological response to the notion of personal space.

(2) 3-5 directional laser cutters can more tightly adapt to the organic form of the human body, enabling frames of both directions to connect instead of contouring through one direction: either vertical or horizontal

(3) Smart materials could potentially react to thermal change without physical movement

Reading Response Wk 7 Digital Fabrications: architectural + material techniques/Lisa Iwamoto. New York: Princeton Architectural Press c2009

Describe one aspect of the recent shift in the use of digital technology from design to fabrication? The recent shift to digital design for fabrication created a whole new realm for designers, generating opportunities that were not possible/feasible before. The use of CAD, CAM and CNC enables designers to create directly from Digital 3d models into a physical model, eliminating the need for traditional ‘architectural’ or ‘mechanical’ drawings. Perhaps our design emphasizes the notion of folding most, where digital design in recent ages enabled complex forms to be assembled through simple tessellations of panels. Deformation and inflection of folding could be easily modified and foreseen through the use of Digital modelling. With the use of computer modelling, rigidity and span of folds could also be analyzed and determined, creating a self-supporting formation.

Nubric from AEDS/Ammar Eloueini, 2005 and Digital origami by Chris Bosse, 2007

Initial sketch of our design, showing the repeated yet slightly modified modules using the folding methods.

Nubric from AEDS/Ammar Eloueini, 2005 and Digital origami by Chris Bosse, 2007 perhaps hold the strongest similarities to our design. The accumulation of repeated folded modules is assembled from flat planar surfaces into visually complex and curvilinear forms. The light-weight portrayal of folding enables light to become a significant role in delivering a visually illuminating results.

Reading applied to design Referencing from the lectures and readings, what is the implication of digital fabrication on your design ? Computer modelling significantly assisted our process of digital fabrication. (1) As our object, the pineapple, holds numerous repetition of similar modules, the panel and fold technique was perhaps most strongly related. While creating modules manually is possible, using computer modelling software such as panelling tools on Rhinoceros 3D significantly assisted the fabrication process, particularly as modules are connected in a curved form. Digital modelling eliminates the risks of potential gaps and modifies each module so that each would adapt to the curved form while interlacing perfectly to one another. (2) Transporting digital files into subtractive capitals such as laser cutters further enables our design to be precisely cut to desired form. Tabs with numbering could easily be created, modified to speed up the assembly process. Etching and scorching further increases efficiency of fabrication process as hinges could now be easily folded. Ultimately, Digital Fabrication utilizes technology to speed up the designing, manufacturing and assembly process, increasing efficiency and productivity. If our second skin was to be created in a mass scale, digital fabrication means that we could achieve a consistent, standardized output or even mass customization.

Modules connected together to adapt to a curvilinear surface. In this case, the back.

Templates are Cut, assembled separately as modules and eventually assembled together.

Templates of lifting shards are created through laser cutting before assembled together by tying to frame.

Assembly Drawing

ASSEMBLY COMPONENTS 1) Frames a) Back frame b) arm frame 2) Shoulder tessellation 3) Lifting Shards 4) Back tessellation

DETAIL ASSEMBLY COMPONENTS

Prototype development: 01/Frames design optimization

COMPONENTS & JOINTS

FOR MATERIALS

As tested from the previous prototype, We selected MDF as it has good strength to weight value, cost effective and resists to shear forces, an important consideration for our design as movement is often required.

The Frames form an important component for the back and arms, made to hold together all the lifting shards, tessellating back and shoulders.

Both the back frame and the arm frames are joined through slotting, created through the boolean split command on Rhinoceros 3D.

design optimization

FOR FABRICATION

design optimization

EFFECTS FOR PERSONAL SPACE Although not used fundamentally for dynamic effects, the frame utilizes section and profiling techniques, which provides a fitting and rigid skeletal structure to hold the other components together.

To efficiently and accurately fabricate the model, the laser cutter was used. Each piece was labelled and notched to ease assembling process.

Prototype optimization: 02/Shoulder tessellation & blooming shards Design optimization COMPONENTS & JOINTS

As the joints need to be strong in order to hold the form of the design, we have considered two joining methods: a glued central tab or interlocked tabs. Eventually,

The shoulder tesselations acts as the bond and support between the frames and the body. It overhangs the shoulder and hence needs to be strong. Blooming shards are immersed among these tessellations.

we attached each with interlocked tab to increase strength and decrease gaps, emphasizing density of clusters.

design optimization

FOR MATERIALS

While the material has to be strong to hold down the weight of frames, it also needs to be flexible to adapt to the curvilinear form of the shoulder. Hence, we decided to use a relatively thick 300GSM card for its lightweight and flexible properties.

Design optimization EFFECTS FOR PERSONAL SPACE To really create a dense and clustered effect up the shoulders, each module will have a mere 2cm on each side. The rim of the tessellation would ideally be patched with triangular planes to create a clean finish.

design optimization

FOR FABRICATION While templates used are identical to that of the back tessellations, they are all convex (as opposed to indented for back tessellations) and sits above an underlayer of a card made sleeve. This is to reinforce the shoulder structure, compensating for the relatively weak materiality of card. The sleeves were made with card, using a cutting pattern of a coat.

Blooming shards will rise through a mechanical pulley system, emphasizing the dynamic change as personal space is invaded.

Prototype optimization: 03/Lifting Shards design optimization

COMPONENTS & JOINTS to maximize lift of these shards, a transparent fishing wire would be used. The shards are secured by extending the tabs so it may wrap around the frame. Stoppers may be preferable to prevent shards from moving in horizontal direction.

long tabs wrap around frame design optimization

EFFECTS FOR PERSONAL SPACE

Stoppers

the lifting shards are the defining feature that responds to personal space. When under extreme influences of unease or discomfort, lifting shards will rise up as a form of defense, threatening the opponent whilst protecting oneself. Hence, to create a dynamic movement, size, hollowness are considered.

Measured diagram of proportions regarding each

length and type of lifting shard. There are 4 types that increase in length.

design optimization

FOR MATERIALS

Having tested materiality in our previous prototype in M2, we decided to use 300 GSM card for all shards excluding the longest and most hollow shards, which utilize a more rigid and strong Polypropylene. However, though transparency generates illuminating light effects, we used white to match the other components.

design optimization

FOR FABRICATION Both card and plastic lifting shards are laser cut for precision. some sides are etched to hold the pieces to the sheet of card, while hollow holes are cut and removed. Using Rhinoceros and the Unroll command, CAD significantly assisted our production process, creating equilateral desired shapes. However, due to unconsidered thickness of tabs, shards began to warp . This poses as a limitation of utilizing computer modelling.

Prototype optimization: 04/back tessellation

design optimization

EFFECTS FOR PERSONAL SPACE In order to represent the vulnerabiliy and non-sensitive area of the back, tessellations would be both concave and conved. We came up with two patterns for height variation: 1) The tallest and most prominent pieces in the center and gradually decreasing in height near the shoulders. 2) Indented pieces in the center and taller pieces near the shoulder, causing a smooth shift from the shortest of the lifting shards. Blooming shards will also be incorporated amongst the mid-tall range of tessellations. Ultimately, we decided to settle for the second pattern in order to create a gradual and smooth connection between the back and the shoulders. It further emphasizes the notion of vulnerability as indented panels are clustered in the center.

Tall tessellations [5cm]

med tessellations [2-4.9cm] short/flat tessellations [0-1.9cm]

design optimization

COMPONENTS & JOINTS Though joined in a similar manner as shoulder tessellation using tabs and tape, the composition is relatively different. As the back incorporates indented elements, same modules will be used, but only stuck together by flipping the modules over.

design optimization

FOR FABRICATION the same method is used for shoulder tessellaions. Hexagons are modelled through rhino and cut accordingly. Each module holds a different heigt range.

design optimization

FOR MATERIALS

Card again is used to maintain the consistency of the design. The flexibility of the card makes it a suitable selecion for adapting to the back.

2nd Skin final design

Plan: arms down

Plan: arms up

Side elevation: arms up

side elevation: arms down

detail: arms up

Back elevation: arms up

detail: perspective

detail: back

Back elevation: arms down front elevation: arms down

Front elevation: arms up

Fabrication Sequence & assembly A1 A2

A: Arm and Back frames using Mdf, a template was cut and slotted together.

B: Blooming Shards

laser cut from 300gsm card, it is assembled separately before connecting with other shards with string to frames.

C: Lifting Shards

Same method as Blooming shards, lifting shards are laser cut. Longest lifting shards utilize PP plastic.

D: Back tessellation similarly cut from template, but joined with tape to other modules and shoulder underlayer.

22 A4

B1-C1

B2-C2

B4-C4

B3-C3

B5-C5

2nd Skin The final 1:1 prototype assembed together without model. details of shards, back tessellated modules and frames featured.

top: FINAL MODEL ON BODY: FRONTAL VIEW AND BACK VIEW WITH ARMS DOWN (state of relaxation) AND ARMS OUT (under threat).

left: details o f model on body, during both relaxed and tensed states.