Module 4 ragnhild ongstad 785984

DIGITAL DESIGN + FABRICATION SM1, 2016 The envelope Ragnhild Ongstad 785984 Lyle Talbot - group 10

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CONTENT 1.0 IDEATION 1.1 Object - Measured drawings 1.2 Object - Digital Model 1.3 System Analysis 1.4 Volume 1.5 Sketch Design Proposal 2.0 DESIGN 2.1 Design development intro 2.2 Design development of personal space 2.3 Early drawing and experimanting 2.4 Digitalization 2.5 Design proposal v.1 2.6 Precedent research 2.7 Design proposal v.2 2.8 Prototype V.1 and V.2 2.9 Testing Effects 3.0 FABRICATION 3.1 Fabrication intro 3.2 Prototype V.2 and V.3 3.3 Design development & Fabrication optimization 3.4 Final Digital model 3.5 Assembly drawings 3.6 Fabrication sequence 3.7 Completed second Skin 4.0 REFLECTION 5.0 APPENDIX 5.1 Credit 5.2 Bibliography 5

1.0 IDEATION

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1.1 OBJECT - Measured drawings To explore the idea behind panel and fold I analyzed the structure of the Pineapple through measured drawing. The pineapple was photographed on a flat plane from directly above and in front. The drawings were then created by accurately tracing the outline of the pineapple from the photographs, following Miralles method (1994). Finally, using a tape measurer the pineapple was measured and the drawings were scaled to accurate size.

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1.2 OBJECT - Digital model The measurements was later used to create a 3D model in Rhino. The priority of the design was to display how the pineapple consist of similar units paneling around an oval form creating a whole.

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1.3 SYSTEM ANALYSIS

LEAF DETAIL The pineapple is an example of the panel and fold system, consisting of several hexagonal shaped units which are attached to each other and spin upward to create an oval shape.

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The leafs of the pineapple are triangular in various lengths and grow outwards in a sprial around a center point.

1.4 VOLUME

SKETCH MODEL After exploring the panel and fold system I made an experimental model out of paper. I folded the paper into a 3D shape which was inspired by the pineapple. The shapes could be added together creating form, pattern and density.

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1.5 SKETCH DESIGN PROPOSAL Through sketch design I began to explore the panelling system further. I developed 3 sketch designs, where sketch design 1 was the most promising.

SKECH DESIGN #1 3d pieces are assembled into a blossoming cover which can both expand and decrease according to how comfortable one is with the surroundings. This way it can be personalized to ones personal space.

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SKETCH DESIGN #2

SKECH DESIGN #3

The idea for this design was to create an eye-catching form to attract people into your personal space. The striking pattern would make people look in the direction of the form and pull them towards it. Several panels put together creates a volume which can capture two people inside the same space.

The design was inspired by the idea of protecting your personal space. This armor design will do this by poking anybody who gets into it. Personal space can therefor not be invaded.

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2. DESIGN

Sohan Mitra Simrat Metha Ragnhild Ongstad

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2.1 DESIGN IINTRODUCTION In this module we joined groups of 3 and started designing and developing an idea of the second skin. We had all analyzed the panel and fold system and done individual work on design ideas and personal space. We discussed on the concept “personal space� and which effects we wanted to include in our project. We agreed on which sketches we wanted to explore further and that we wanted to explore how we could include movement to our design. We were also intrigued by the idea of embracing people into personal space, instead of keeping people out. We used modelling tools in Rhino to complete our design proposal and prototyped sections to test effects.

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2. 2 DESIGN DEVELOPMENT OF PERSONAL SPACE Considering our investigation and feedback from M1 we had gathered several ideas of how “panel and fold� could work as a system and rule to create 3D form. We elaborated on our ideas and decided on two concepts to explore further. First, the concept of a personal space with an embracing function. Second, the idea of gadgets becoming a part of our personal space I.e. smart phones.

The design is closely related to the personal space and the movement of a person. People value their personal space and often feel discomfort if someone enters without consent (Sommer, 1969). So, people who enters your personal space are normally an intimate person. Most people will at times desire and welcome physical proximity with familiar and trusted people. We wanted to include this in our design

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In modern society, people often have to deal with crowded urban spaces where it may be difficult to maintain your personal space., for example at acrowded tram. The physical proximity may be uncomfortable and people will avoid eye contact. People often use their phone in public spaces as a distraction and an assurance to avoid eye contact with others. We explored this concept further.

2.3 EARLY DRAWINGS AND EXPERIMENTING

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2. 4 DIGITALIZATION

We chose to use a platonic solid, inspired by the fruitlets of a pineapple, in a repetitive system. We developed our M1 sketch design from using 2D pentagons to using 3D pentagonal dodecahedron units. We used templates to fold a flat surface into Three-dimensional. The material will then gain stiffness and rigidity and is self supporting (Iwamoto,2009) .

The dodecahedrons was created in Rhino using the Rotate 3D command and aligning the units using the orient 3D command. The units were alligned around the digitized mesh of the body as a base to create the shape we had proposed.

Digitalization of pentagonal dodecahedron

Variations of unit

Design development of proposal #1

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Design development of proposal #2

2.5 DESIGN PROPOSAL V.1 Proposal #1 intended to include the use of gadgets such as an IPhone within the personal space and this was brought about by creating a shield around the head. The dodecahedrons become more open as you move away from the face to increase the field of vision of the user.

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2. 6 PRECEDENTS

Plato’s Collection (Hrustić, 2010) Inspiration in the platonic solids, arranged into clusters to create various forms. We used the clusters to signify one’s personal space.

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Sur La Plage (Szenfeld, 2014) Bea Szenfeld show how paper can be used to create robust shapes and the limitless possibilities one can experiment with when it comes to shape and form.

Modular re.strukt (Carsten nicolai, 2003) Use of identical 3D units which interlock with each Wother to build pattern which are constantly changing.

Chrystalis (lll) (Matsys, 2012) The elements freely move on the substrate until it finds a stable position, thus an amoebic movement is exemplified in the model.

2.7 DESIGN PROPOSAL V.2 Proposal #2 of the second skin came about as we experimented the idea of embracing people in the second skin. We included the embracing function by exploring the concept of sharing the skin with an intimate, such as a good friend or family, of the user and also accommodated for a rather small member, such as a child or pet, whom the user associates with. We chose to develop this idea further in module 3, as it introduced movement with a hinge which was something we wanted to explore further.

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2.8 PROTOTYPE V.1 The series of prototyping was helpful to explore the potential of the material. We used polypropelene (0.6mm) to prototype as we thought its strength and elasticity would allow for a strong unit and joints. However, we failed to consider that polypropelene has low surface energy and it is therefor difficult to glue two pieces together to make a bond. Furthermore, glue made visible stains on the material and therefore we had to consider other materials at a later stage.

We made use of digital fabrication techniques, Rhino and laser cutter, which made our process more efficient but also helped us achieve neat and crisp folds for our dodecahedrons (Iwamoto, 2009). The laser cutter process involves use high intensity focused beams of infrared light in combination with pressurized gas to burn the material (Kolarevis, 2003). This can leave a burn mark on the material which we also had to consider for further desicions.

We also tested different types of tabs to see which would give the most strength and at the same time give the aesthetics we wanted.

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2.9 TESTING EFFECT The prototype helped us to examine what size the unites should be and how they would be assembled. We explored how to incorporate movement to our model and found that we could create hinges by connecting two pentagonal dodecahedrons which could accommodate a turning angle of 58 degrees on each side so a combined 116 degrees movement is possible. The pictures below shows the movement. We planned to use this aspect in specific portions of the model.

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3.0 FABRICATION Sohan Mitra Simrat Metha Ragnhild Ongstad

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3.1 FABRICATION INTRODUCTION This module focuses on further designing, prototyping, optimization and fabrication of the final design. From module 2, we had some challenges that we needed to resolve, such as tab size and form, material and joinery.

These elements where further tested and optimized in this module.

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3.2 PROTOTYPE V.2

PROTOTYPE V.3

We changed our material from polypropylene to Ivory card 290 GSM, as it is light, but strong when assembled into units and glues quickly together. However, paper rips easily so we had to be more careful when assembling. We also increased the sides of the unit from 25mm to 35 mm. We chose to use tabs to connect the sides together as it would give well hidden connections, making the model neat.

We prototyped with 4 variations of the unit to emphasize on the transition of opening up of the personal space.

Once we had achieved the quality we wanted, we could proceed to producing many units that we could assemble into a full scale model. This enabled us to test the effects and points of stress.

almost static shoulder piece

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3.3 DESIGN DEVELOPMENT AND OPTIMIZATION

A total of 80 units were submitted to FABLAB nested into 10 template sheets. In order to achieve full movement in the shoulder piece we submitted more hinges for the final model.

OPTIMIZATION: • The rhino model was changed after testing full-scale prototype.

Some items had to be moved around to provide the necessary support or to avoid too much stress in certain areas.

• Several hinges were added to get movement in the shoulder section, instead of it being static.

• We added more variations of the unit to get a better transition from closed to open.

• We increased the size of the tabs to get stronger units.

• We reinforced the hinges with additional tabs so they wouldn’t tear.

• Replaced white rope with a fishing line for invisible movement effect.

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Unrolled units

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We number som of the sides of the dodecahedron to ease our fabrication process. This was especially important for the unrolled hinges as it didnt fold up naturally to its shape

Black line is cut and red line is etch. We used etch on the tabs and the fold.

During our fabrication process of prototype V.3, we encountered a few challenges such as weak connections, tearing of the material due to the stress and visual glue. Various steps was done to prevent these mistakes to happen on our final model, like increasing the length of the tabs, spreading hot glue evenly on all sides, stronger hinges and reinforcement of vulnerable parts.

We increased the tabs in the Rhino file from 15mm to 25 mm for stronger connections.

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Hinges needed to be etched on both sides by hand to allow movement in both directions.

Movement in hinge for body part.

Variations of units

Increased tabs for added support

When designing in Rhino and when assembling, the placement of each unit had to be thought of, especially around the hinges so that it didn’t prevent any movement. We improved our shoulder piece by giving it full movement, enabling it to move from hanging behind the body to rest around a person.

Movement in hinges for shoulder part

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3.4 FINAL DIGITAL MODEL

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3.5 ASSEBLY DRAWINGS

The model was assembled from the main body outwards. This was important to maintain a stable and rigid composition which was supported by the body. We had to pay close attention to the Rhino file, since wrong assembly would lead to a very different end look and result.

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3.6 FABRICATION SEQUENCE

1. We placed unrolled units into templates to be sent to the FABLAB for laser cutting.

2. Each unit was assembled by folding the scoringlines and glueing the tabs.

3. The hinges had to be scored by hand, since they needed a gentle score on each side.

4. We needed approximately 80 units, plus a few extra in case of any mistakes or any of tearing.

5. We laid out all the units and sorted them in the different categories.

6. We started gluing the units together using hot glue, always referring to the Rhino file.

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7. We started with the chest piece as it was important that it was supported by the body of the user.

8. We constantly checked that it sat nicely on a person so that we wouldn’t glue units that would change how the design fit.

9. Hinges are tested for correct movement

10. When the chest piece was self supportive we could move on to the units going down the body.

11. All the units where then assembled to produce the final design.

12. Finished

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3.7 COMPLETED SECOND SKIN

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4.0 REFLECTION The three months of designing and fabricating a 2nd skin for personal space has left me with a lot of new knowledge and skills on digital designing and fabrication processes. It has opened my mind to the expanding possibilities of materials and fabrication methods which is available. Moreover, it has taught me the level of work, risks, innovation and care which is necessary to achieve the required result. During the past three months process, I have improved my digital skills, I feel a lot more comfortable using the FABLAB tools and I feel enlightened by the endless possibilities of designing. Working with other students, exchanging ideas and seeing products evolve from drawings to true models has been incredibly inspiring and has helped me to work even harder in this subject.

Throughout the semester my group faced a few challenges that needed to be resolved. Our studio critique, guidelines and feedback helped us on the way to overcoming these challenges and where a big support for us to move forward. It also helped us to push how far we could take the design by thinking out of the box, taking risks and challenging ourselves. We experienced that risks, is where alternative outcomes and innovation occurred, while the technology could give us certainty and precision. (Bernstein and Deamer, 2008).

All through Module 2 and 3, we learnt about the importance of prototyping. With the help of technology, we were able to explore our imagination and creativity even further, but testing our ideas was important for realization. Here we relied on making and testing, as it was not possible to test the effect of gravity, material and joints through the digital model. This was one of the biggest challenges we met during the semester.

Since we couldn’t simulate real-life in the digital model, we had to do a lot of prototyping to gain experience of rotations and stress.

In Module 3, we discussed on the theme of the revolutionized built industry (Kolarevic, 2003). It was incredible to get some insight into how the various digital fabrication processes have changed the way we design today and additionally get some real experience on what can be virtually conceived into reality. We relied on digital fabrication as a way of translating a digital file into a physical product. This gave us the ability to achieve a precise result and the opportunity to visualize the final product. I was able to easily digitally vary the different units which would have been a lot more time consuming by hand. However, hand craft was a vital component to assemble the product and remains a fundamental part of the design process.

Altogether, I think we successfully completed a 2nd skin model of personal space. I have gained experience of the opportunities of living in an era with technology and tools which can make everyone into manufacturers. The advanced techniques can help us to visualize the outcome and can take our design beyond the boundaries of old ways.

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5.0 REFERENCES 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 Carsten nicolai (2003). Modula re.strukt [online] Available at: http://www.carstennicolai.de/?c=works&w=modular_re_strukt [Accessed 1 Jun. 2017].

Digital fabrications: architectural and material techniques / Lisa Iwamoto. New York : Princeton Architectural Press, c2009.

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 Hrustic, A. (2010). Plato’s Collection| Dezeen. [online] Dezeen. Available at: https://www.dezeen.com/2010/11/23/platos-collectionby-amila-hrustic/ [Accessed 1 Jun. 2017].

MATSYS (2012). Chrysalis (III) « MATSYS. [online] Matsysdesign.com. Available at: http://matsysdesign.com/2012/04/13/chrysalis-iii/ [Accessed 1 Jun. 2017].

Sommer, R. (1969). Personal space : the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J. : Prentice-Hall, c1969.

Szenfeld, B. (2014). Bea Szenfeld: Haute Papier Spring/Summer 2014 | strictlypaper. [online] Strictlypaper. Available at: http://strictlypaper.com/blog/2013/09/bea-szenfeld-haute-papier-spring-summer-2014/ [Accessed 1 Jun. 2017].

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CREDITS

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Simrat Metha

Ragnhild Ongstad

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