DIGITAL DESIGN + FABRICATION SM1, 2016 YOUR PROJECT TITLE Reece Cutajar
915862 Matthew Greenwood +8B
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1.0 Ideation 1.1 Object: 1.2 Object + System Analysis: 1.2 Volume: 1.3 Sketch design proposal: 2.0 Design (list your team’s member name on this cover page) 2.1 Design development intro: 2.2 Digitization + Design proposal v.1 : 2.3 Precedent research: 2.4 Design proposal v.2: 2.5 Prototype v.1+ Testing Effects: 3.0 Fabrication (list your team’s member name on this cover page) 3.1 Fabrication intro: 3.2 Design development & Fabrication of prototype v2: 3.3 Design development & Fabrication of prototype v3: 3.4 Final Prototype development + optimisation: 3.5 Final Digital model 3.6 Fabrication sequence: 3.7 Assembly Drawing: 3.8 Completed 2nd Skin: 4.0 Reflection. 5.0 Appendix: 5.1 Credit: 5.2 Bibliography:
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1.0 IDEATION
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Module 1 looked at some measured drawings of an umbrella, this lead to using the program Rhino to create a digital model of the umbrella. the second half of module 1 took the umbrella and dissemble to create a sketch model using the leftover pieces and at the end, we started developing sketches for protection sketch designs. the readings for this module looked at other techniques of doing measured drawings with more complex objects. overall my drawings were good the one thing I feel I could have done better was the cleanness of my measured drawings they became messy when scanning them, this could be because of the paper I was using or the pens, it’s something I need to work on. the readings were effective in exploring different ways of doing the measured drawings, this latter came in handy with the umbrella drawings. my biggest weakness for this module was my sketch drawings. the level of detail in those drawing are lacking and I feel that could be explored with more diagrams/ sketches. the sketch model I am very happy with. I wanted to build something unique and for something that I feel I would wear for my privacy and protection. this design was more for my private needs as I am very protective of my knees, with all the problems I have had with them. overall this module had a variety of elements to explore. drawings, building, and modeling.
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Measured Drawings
The dimensions are measured using a tape measure to depict the umbrella in the drawings, this technique is used for the plans and elevation.
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The angles are measured using a protractor and using the technique as measuring a ceramic pot. Using paper and a pencil to trace the structure to get more accurate angles.
Elevation Scale: 1:5 8
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Section Scale: 1:5
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Plan View Scale: 1:5 9
Analysis
Frame Movement detail Scale: 1:15
8°
open
30 ° The umbrellas are designed to be symmetrically shaped. This is done by using an array of triangles pattern, The umbrella frame is design to be as light and compact as possible, this is done with light aluminum frames and fabric canopy.
Middle
Closed 0
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Frame Movement detail Scale: 1:15
Rib
Pole/shaft Canopy
Stretcher
Runner 0
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The mechanics of the umbrella starts with the Pole. The Pole is allows the shifter to move along the pole. This then allows the Ribs to expand therefore opening the umbrella. the Runner guides the Stretcher up and down the pole, the Stretcher is the component that changes the angle of the ribs. When the ribs start to open the two ‘spring’ along the ribs star to flex as the runner meets the top of the pole. This ‘spring’ keeps the ribs in position with the forces of the canopy adding extra tension
Frame Movement detail 11
Digital Model
Plan bottom 12
Plan top
Elevation view
Isometric View
Modeling Method: -Import a plan and a section of the umbrella -Using the cylinder to create the core of the umbrella -The line tool was used to modal the detailed legs of the umbrella, the patch tool was used to create the surfaces
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Sketch Model Knee Brace modal. Leg Extended
Elevation view
Front Elevation view 14
Plan view
Knee Brace Modal. Leg Retracted
Elevation view
Plan view
Front Elevation view 15
Sketch Design #1 Cone protection gear.
How does this respond to your personal space? The setback this skin provides, allows for personal space around the head and lower body. The skin will be a flexible material that will allow the user to adjusted the shape and setback. The material of this skin will need to be elastic, so this will allow the user to have the ability shape and expand the amount of personal space they require.
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Sketch Design #2 Triangle body arma
How does this respond to your personal space? This idea is more about creating a separate skin arma. i wanted to design something that can go on any part of your body and can be adjusted to suit your person privacy needs. The materials used would be something light like cloth and the addition of silicon pads to provide some strength to the arma. This skin will have the ability to change its length and width with the core structure (pole) extending out like an umbrella. this response to the personal space because it create a setback with the arma to any part of the body the user wishes.
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Sketch Design #3 Body Bubble Wrap
Holes in the skin for light and views
Bubble Ball
1.Chattanooga Bubble Soccer. (n.d.). Retrieved June 07, 2017,
How does this respond to your personal space? This bubble like skin aurar is based off the bubble balls. the size and depth is based on our personal space modal. the main area we value of need for personal space are around the head and upper body. This design slides over the user and creates a offset like a Bubble Ball. The Body bubble wrap will have the additional ability to expand out using the core structure as a mechanism. The material will have plastic wrapping, to allow for expansion through out the body wrap. .
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Appendix Manipulating Surfaces
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Creating curved shapes
Modelling the Umbrella
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2.0 DESIGN
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Module two looked at taking one of our design sketches from module 1 and developing that into something that meets the criteria of the personal space analysis, according to the private space analysis. at the end of the module a 1:1 scale module was to be fabricated to show how this design meets the requirements of the personal space analysis. the readings looked at digital modeling software and what we are able the advancements we have made with the developing software. module 2 had its challenges with members of our group moving in and joining with the other skin and bone group. the challenges came with the original design we decided to develop. this design lacked a key component that was an essential part of the brief, this was the volume. half way through this module we scrapped this design and moved forward with a hyperbolic type system. this change pushed us back a bit, but it forced us to work harder and better as a team. the experience of a large change to the design brought the group closer and hungry to strive forward. the result of the final model needed some work with the fabrication. the digital modeling allowed us to express the more complex details of the design. at the end, the design met the personal space analysis and was favored by the judging panel and a good feedback to use going into module 3.
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Sketch Design Development Design Statment: To create a wearable that protects your personal space while on public transport. We are carrying a few different designs forward at this stage of development. There is potential within the bottom design for mechanical movement and for the design to adapt to its surroundings while in a public setting. The design on the left has more potential to experiment with the skin and bone structure and different ways the system can be expressed.
Design 1
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Design 2
Refined Sketch Model We initially started work on design 2 from the previous page. This design was developed on the basis of machanical feasability rather than its strength with representing personal space or the effects it used within the skin and bone material system. Because of this lack of focus the design became restrictive and did not allow for much experimentation. We had to ditch the design for design 1. Design 1 was much stronger in terms of its capacity for experimentation within the material system and in its representation of personal space.
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2nd Skin proposed design V.1 With this set of models we experimented with the form and the capabilities of the skin and bone material system resulting in the two designs to the left and below. These are based off design 1 from page 2.
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2nd Skin proposed design V.2 We made several digital models of design 2 and developed it significantly. However the design was not chosen going forward as stated on page 3 it was too restrictive and allowed limited experimentation with the skin and bone structure. The precedent study for this design can be found in the appendix.
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Personal Space Analysis Brief: • • • • • •
Name: Krystal (Nghi Luu) Gender: Female Age: 20 Occupation: University student Height: 1m64v Hobbies: Coffee, Drawing, Reading books …etc.
Diagrams of Personal Space – Public transport cases Empty train / tram – Sitting and Standing On empty train, people usually prefer to sit away from each other at least 1 seat away from both sides. It is not comfortable when others approach you from both front and back. Avoid eyes contact or face cover
Overview:
Krystal lives far away from her university; hence her daily routine is spending more than 1 and a half hour on public transports (train and tram) from home to university and vice versa.
When Crowded Crowded space requires personal space narrow down to your seat and for standing must be at least 200mm away. Avoid eyes contact or face cover
Design Needs:
Krystal feels very uncomfortable on packed train and duringpublic transport in general as her personal space sometimes invaded. So, she need a device or systems wear on during those trips which keep her isolate and remind others about her private space. The systems must help her hide her face and eyes as she usually sleeps on train and tend to avoid stranger’s look at her. It’s also must be light weight for long trips on the train.
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With Friends Eyes and face reveal for contact and socialising, personal space for sitting still around your seat and for standing is 200mm minimum away (if not close friends).
Inspirations for Design 1
4.Kovรกcs, I. (2015, March 09). Geometry.
5.Amilivia, C. (2014, December 13). Installations in space.
Inspiration: Other Designers Public Transport (PT) Solutions
Kathleen McDermott - Urban Armor
Siew Ming Shen - Spike Away
While on PT you are often vunerable, people disrespect body boundaries, strangers often breath on you and touch you with the arms and legs.
She found that PT was crammed uncomfortable, her solution was to make a garmet that reminds people of boundaries.
2.Detail john galliano. (n.d.). Retrieved June 07, 2017
6.The Personal Space Dress. (2014, May 21). 3.Tehrani, Y. (2016, September 28). Cantilever Project. Retrieved June 07, 2017
7.Brownstone, S. (2013, December 16). How To Protect Your Personal Space On The Subway: Spikes.
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Precedent Research Steilneset Memorial by Peter Zumthor and Louise Bourgeois
Seventeenth Century Witches Steilneset Memorial
Burnham Pavilion - Zaha Hadid - 2009
8.Steilneset Memorial / Peter Zumthor and Louise Bourgeois, photographed by Andrew Meredith. (2012, March 01).
Description of precedent The steilneset memorial was designed to commemorate the suspected witches who were burnt at the state in the seventeenth century Norway. The design uses a linear organisation that consists a series of space throughout. The size of the space are alike in form and function, this allows for the it to be flexible and responds to its site. The piece comprises of two structures. The first one is the pine scaffolding which suspends a silk cocoon. The effect the structure has relates to the tension on the silk. This is the relationship between the people in norway and the alleged witches back in the seventeenth century.
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Burnham Pavilion - Zaha Hadid - 2009
Precedent applied to design Seventeenth Century Witches Steilneset Memorial
How can you use this precedent to influence your design ?
The use of silk as a fabric that can stretch, its one element that we incorporate into our hyperbolic model. The silk material is very flexible, which will allow the design to be dynamic. The outline of the silk could also create an effect through the lighting. This could be implemented into the design to create an illusion about the user’s body size and shape.
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Design development - Version #1 Design gives protection at the back reflecting personal space analysis.
Front
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Right
Perspective
After experimenting with the skin and bone system in the second set of design proposals we arrived at this design. It allows the greatest use of the unique aesthetic feature of the skin and bone system and can be edited easily to allow adaptation to public transport.
Top
Design was iterated adding extra bone and skin structure to better cover the face. Skin was added to experiment with minimal surface area from precedent study.
Ideas for different uses of fabric to protect the user and to cover face and eyes while on public transport.
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Design development - Version #2 The design has been further altered to block sightlines to the wearers face and to more adequatly cover the areas of the body that feel most vunerable on public transport.
Front
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Right
Top
Perspective
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Prototype
The above set of models was created to illusustrate that parts of the design can be created by planar pieces allowing for digital fabrication methods such as cnc routing to be used,
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The green ‘pool noodle‘ models tests how well the design fills up Krystal’s personal space bubble. Each piece of fabric is stretched differently in order to test the different ways the fabric can fill up the space. This prototype is also experimenting with how the placement of the fabric can create and block sight lines.
Testing Effects
Above you can see the fabric is split and supported between with bones to create single stretched surface which changes opacity over its surface. THis changes how the body is percieved, sometimes you can see a direct line through though sometimes only a sillouette can be seen.
Applying tension to individual mebers (groups of string) effectivly produces surfaces.
This model played with how tension in the fabric can support the underlying bone structure of the model.
This model shows how when fabric is stretched it creates curved forms between its attatchment porints.
This model experiments with tension and how that manipulates the 2 dimensional fabric into a 3 dimensional form.
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Appendix These were sketches done for when the precedent was applied to the abandoned design (design 2).
Burnham Pavilion by Zaha Hadid Architects
Reflection of the Burnham Plan
APA MLA Chicago Burnham Pavilion - Zaha Hadid (2015, May 10 ).
Description of precedent
(N.T.S)
APA MLA Chicago Burnham Pavilion - Zaha Hadid (2015, May 10).
The Burnham Pavilion has a skullition of light availing steel and overlaid with 21st century century contemporary techniques high tech fabric. The effects the fabric can make with the use of tension force of pulling and twisting twisting force, These forces create fluid, organic elliptical and a dynamic form. hadid envisioned a structure the reflects the burnham’s 1909 city plan. Which envisioned a fanned grid of streets emanating diagonally from chicago’s city center
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APA MLA Chicago Burnham Pavilion - Zaha Hadid (2015, May 10).
Panel Finish
Reflection of the Burnham Plan
Body Types
How can you use this precedent to influence The flexability of the fabric can be manipilated over the structure, to create an effect. The concept of using twisting and pulling the fabric can create a dynamic effect. The shape and form of the structure itself can help with the mechanical component of the shell.
Top Plan of burnham pravilion (N.T.S) 39
3.0 FABRICATION
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Module 3 looked at the fabrication process and also experimenting with materials and structural integrity. the readings explored how digital fabrication has affected the manufacturing process/ industry. this module was all about testing the design with different materials. the biggest glaring issue we came up against was how the structural integrity of the framing and also how these pieces connect to each other. the process of fabrication had its challenges mainly with the materials, mainly the perspex. perspex flimsy and expensive material to laser cut compared to plywood. this limited the amount of testing we could do before the final so the most of the tests were done on plywood, which has different property to perspex, which wasn’t taken into account when developing the connection. this is something we have been testing with each fabricated model we did. the problem was the solution was too expensive and the sheer size of the structure along with the flimsy material of perspex distracted us from the connection and forced us to look at how do we stabilize this rather than how do we connect these pieces. the design itself works really well with the brief and the personal space analysis from module 2. the development of the digital model also a component of the fabrication process. the group was able to develop the model from the new concept design at the end of M2 and produce a level of detail, so that it can be 3d printed or laser cut for fabrication. I have now realized that the making process is to develop a complex and interesting idea then simplify till it can be achieved. This is has changed from an anything is posable to build not realizing the importance of structure and engineering.
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Introduction
This is the final design from module 2. The design was changed from the initial concept design this was because of the major concern of the original concept. This new concept looks more in depth at the volume side of personal space, which the original one lacked. This design going forward will look at the use of material to make the skin the main visual element of the structure. This will involve looking at making the bone structure smaller and invisible. the fabric will need to cover over the personal space more efferently to be as effective as possible
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Design development Sketches
Module 2 overview Bones system
Transformed shapes to panels
Module 3 initially Bones system
Inspiration
9.Tehrani, Y. (2016, September 28). Cantilever Project.
10.Amilivia, C. (2014, December 13). Installations
11.Styling by Baiba Ladiga. (n.d.)
in space
The major changes from Module 2 to Module 3 for Bones systems is influenced by the fabrication process. As the prototype at the end of Module 2 indicate - it is difficult to work with Bones structure as tube shape. Our group head towards alternative suggestions from Module 2 feed backs - which is minimized the bones by using panels done by laser cutting on MDF as test
The development of the design based on the feedback from our M2 presentations, The main point we needed to focus on was the simplifying the structure shape and design. The connections to the body also needed to be looked at. The direction of this design is moving towards having the structure to be as invisible as possible and the main focus being the skin/ fabric. the inspiration we use to move forward with and take onboard the feedback from our teachers were the images above. the top one shows a hyperbolic structure where the structure itself was very thin and the main focus became the shape of the fabric. The changes we made through sketching was to make the structure a lot thinner to reduce the visual aspect of the structure. we also developed how the model would sit of the person. the first solution we came up with was the shoulders. we though that this was a more effective solution then having the models relay on the support of the back.
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Design development Personal space analysis
The test prototype on the left demonstrates the manipulation of stretchy fabrics on wire frame. The fabrics work really strong as tensile structure which pull the frames together as a whole component. Yet it also shows that, it’s not really possible to work with wire(tube shape) in scale 1:1 - as it has a slippery surface that doesn’t hold the fabric connection well. Thus the wire is not really effective in stability and hard to work with. Therefore, transform the bones into pannels will be more possible solution.
Test Models
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Design development + fabrication of Prototype V.2
This is the prototype was developed from the module 2. The design has been simplified when it comes to the bone section. What we decided on was to have the bone run on the same plane, this design made it easier to reduce the size of the bones and also easier to make. From this prototype we learnt that we should change the sitting place for the model. The most effecting and comfortable position would be around the belly area. Where we can use a belt like strapping to hold the structure up. The fabric used in this prototype was not stretchy enough and became difficult to increase the private area. This prototype gave us a lot of information on areas we can further develop to create an efficient system and one that can cover the private zone, that was developed in M2 We have changed from the initial design this was because of the major concern of the original concept. This new concept looks at the volume of personal space which the original one lacked this design going forward will look at the use of material and we can manipulate this to create an effect with this developing design
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Isometric view
Plan
Elevation
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Reading Response Wk 6 Architecture in the Digital Age Design + Manufacturing/ Branko Kolarevic, Spon Press, London c2003 There are a number of fabrication processes that are available to us for our projects. - Laser printer - 3d printer - 2 axis- 3 axis and 5 axis - Plasma arc cutter - Water jet cutter Our project is looking at skin and bone. The main structure of this part has a lot of complex joints that can only be accurately be fabricated digitally. The main source of digital fabrication we have used is the laser cutter. This machine uses a high powered laser to cut through all types of materials. The two we have used are MDF and Perspex. We have simplified some of the complexities of our design from throughout M3 for the porpoise of creating a bone structure that isn’t the main visual focus. The required the bone structure to be smaller in every direction. This required changing the cylinder shaped structure to flat 2d shape. The changes allowed us to use laser cutter to digital fabricate the structure for prototypes quick and accurate. Branko Kolarevic - 2003 - Architecture in the Digital Age - Design + Manufacturing/ , Spon Press, London c
We have also used 3d printers later in the process of creating prototypes. 3d printing uses a system of binding layers of material from a digital model. This became useful for this project when we needed to create a brackets for the belt, that will hold the structure up onto the body. This element of the design required a strong bracket in the design that would of been to complex and fragile if we used a laser cutter to assemble a bracket.
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Reading applied to design 3d Printed Base Plate How does the fabrication process and strategy effect your second skin project? The fabrication process of our second skin became easier when we simplified the design of the second skin. This allowed us to use some of the digital fabrication techniques available to use to produce prototypes of our models. The use of laser cutters and 3d modeling machines to cut and model our designs shaved a lot of time and effort in constructing the models. This allowed us to spend more time focusing on the areas we can we need to improve on our prototype. The process itself was directed into the area of using the digital fabrication process. The concept at the end of M2 was more 3d curves, this would require us to use a mater al that has the flexibility and strength to be placed under tension. The process of converting the bone element of this design into 2d curves allowed for the use of laser cutters. The more complex areas of the design came with tieing the bone to the body. The standard section profile cuts proved unreliable as the structure was too flexible and a lack of support. The shift turned to 3d printing. The advantage of 3d printing was the strength of the product with layers and layers of material that make up the model. The time constraint of using 3d printers are longer then laser cutters, but the amount of time need to assemble the pieces together more then made up for that lost time.
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Reading Response Wk 7 Digital Fabrications: architectural + material techniques/Lisa Iwamoto. New York: Princeton Architectural Press c2009
Lisa Iwamoto - 2009 Digital Fabrications: architectural + material techniques/ New York: Princeton Architectural Press c
Describe one aspect of the recent shift in the use of digital technology from design to fabrication? Sectioning The sectioning process looks at the method of takings a geometry and creating sections through it. the form of the shape is broken down into layers that can stacked onto or next to each other creating the form with 2 dimensional planes. this process can be achieved with laser cutters, this machine can use the information given to cut out section on a piece of material that can be joined together to create the geometry. this digital fabrication precess cannot be used in our design. Tessellating Tessellating uses a collection of pieces that fit together to form a plane or surface. this fabrication refers to tiled mesh and digital patterned mash allowing for more complex surfaces to be created using this technique. This system can be achieved digital through NURBS and meshes. this fabrication process is can be useful with the skin element of the design depending on the material and how this fabrication is used. Overall this system is not suited to our design if that materials cannot be placed under tensile force and the structure doesn’t have any relation to this process. Folding The folding system allows for the conversion of flat surfaces to be converted into 3 dimensional ones. This methods allows for complex models to be incorporate and smooth over the surfaces. This allows for the construction to be more affordable and increase the structural stiffness of the system. programs like Rhino are very effective when using folding because of its capability to unroll.
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Reading applied to design Referencing from the lectures and readings, what is the implication of digital fabrication on your design ? The fabrication process for the second skin becomes a lot easier when the main structure has been digitally modeled. The development of the concept into prototype it has become a lot easier to use digital modeling. With this avenue we can now use this technology to draw up in a 3d way this allows us to see in all prospective how this concept can come together. The avant age of having a 3d digital model is the time saving changes we can make, when developing prototypes. Digital models allows us to backtrack and move and copy element of our concepts from weeks ago that can now be incorporated into the new drawings, the ability of this use old fashion drawing techniques can be time consuming. The benefit of using such technologies allows our model to be crafted more accurately and cleaner. Using rhino to develop a 3d model of our model allows us to deconstruct the model into individual pieces that can printed in 2d. The construction element can be very messy when building complex models for testing. The advantage of using digital fabrications like 3d printing, the digital model we develop on programs like rhino can be sent to a 3d printer and within hours we have the pieces we need to put together in a cleaner fashion then physical measuring and cutting these pieces, with a high risk of error.
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12. Bond, J. (2014, December 18). 3d printing
Prototype development
Prototype 1.0
Prototype 2.0
The first prototype as shown above looked at converting the 3d curve structure to a 2d one. The prototype was developed further looking at the following key areas. The structure must now sit on the belly of the person wearing it this takes the load of the holder and leaves the arm free for movement. the other areas was covering the volume of the protected area. This is one of the most important areas, as it is the whole point of the project. At this stage the skin on this prototype, is going to be developed with further testing of materials.
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Prototype 2.1
Prototype 3.0
Prototype 3.1 The following prototypes after the first one more focused on the structure and ways we can hold the bone elements together. The joints between the pieces became the biggest factor when working with the prototypes. The weakness between these joins allowed the models to become very unstable and couldn’t preform its function properly. The brackets shown bottom left are 3d printed, these are what is tieing the structure to the body this is the first test model. The success of this model solved the riddle of how we are tieing the model to the body with the least amount of flexibility
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Prototype optimisation (effects) The original material we used in M2 for the first prototype were some stockings. Form this we tested a variety of different materials to find one that can stretch in two directions and also has a texture that is semi transparent. The fabric we found at first that achieved all these was the Lycra. as shown to the right.
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image
The other fabric material testing as shown to the left had some element of stretch but didn’t match up in any of the other areas we required for the private space according to the personal space analysis. The fishnet material we test we thought would be a better solution to the effect we want to achieve. This material is stretchy and also the transparency changes depending on where the person is standing. This works more in line with our personal space analysis. Achieving the goals of hiding the persons face. as shown below when the material is under tension the transparency is decreased
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Prototype optimisation (fabrication) The choice to use a laser cutter rather then a 3d printer came down to the costing and also the time constraints. The advantage of laser cutters is the option of material and material thickness
The prototype was developed for optimization with the simplifying the structure from a 3d curving structure to a 2d curve. This new design changes from a massless tubes to a rectangular curved MDF that are 3 mm thick. This change allowed us to use laser cutters to efficiently fabricate all the elements of the frame. The new designed frame also allowed for easier attachment between the fabric materials and the Perspex, one area that was a challenge from M2 prototype was attaching the material to the structure. The structure made out of foam was weak and could not hot the tension filled fabric. This solution became more time efficient and also cleaner.
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The availability of 3d printers allowed us to test new brackets allowed us to test the strength capabilities of the brackets. These brackets will be use to tie down the bone structure to the person. The aim of the bracket was to create one that is strong and provides as little movement as possible the test shown that having 3 mm holes in the structure should keep the structure in place.
The digital fabricating of the bone structure required these elements to be joined together. Using these techniques we were able to test a variety of the standard joining tools in an efficient manner. As shown to the left and above we experimented with the section and profile then moved towards using wire and plaster to create a stronger connection.
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Prototype optimisation (material usage)
The bone structure frame was reduce in width. This allowed us to shed some weight off the structure and also reduce the bulk of the frame.
The change of material to Perspex allowed the structure to become more invisible so the skin fabric wall become the visual focal point of the design. The advantage of using Perspex is that we were able to add more loops that will provide some stability to the structure,
The connection joints between the bone structure has been an area we have spent some time refining. As show to the left, the different methods of joints we tested. These connection all had strength and stability problems. This was temporarily fixed with using wire and plaster, to tie the frame together and provide some stability around that area.
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2nd Skin final design
Plan
Elevation
Isometric view
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2nd Skin Rhino Model
Top View
Front Elevation 60
Side Elevation
Isometric 61
Fabrication Sequence
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Assembly Drawing (exploded digital model)
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2nd Skin (photos on body)
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4.0 REFLECTION
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This semester for digital design and fabrication the learning experience of using a new program in rhino. rhino is a program I did a short corse on 3 years ago and going back to it again this year, made me realize how much I have forgotten it. the workshop sessions allowed me to learn rhino again and use the program across all my other studios. through the lectures I have learned more about designing and how to take the element of skin and bone to create something that is more personal, not a building or a room but our space. this took me outside my comfort range in exploring a system limited to skin and bones that can be used to fill the need of our personal space needs. The areas I found most challenging were the fabrication models. I am not a good craftsman and its something I need to personal develop. the aid of laser cutting helps a lot with the cutting the piece in an accurately. the other area was developing the model in Rhino. though I had limited experience in modeling the system in rhino this semester, I found the use or lack of planes in rhino, made the modeling harder. as someone that has been using AutoCAD and Revit for the past 3 years and working on planes. using Rhino for the first time in 3 years I was unable to draw lines on a single plane, this delayed my work and a time waster. definitely, something I have improved over the semester and look forward to developing further. The biggest area of the design that needed to be improved was the connection and the structural stability. this could have been achieved with more bracing components and the stability of the structure could be improved with another bracket around the waist. the solution to the joints could have been using an extra piece over and use a piece of perspex joining the two together the same system with the frame and the belt except it 2 pieces of perspex and not a 3d printed system. I would have liked to of seen the perspex thinner to really give the impression of a floating skin. I understand the level of force this would put the thinner perspex and therefore snap would occur. The design overall was a success, with the major areas that let it down was the finish of the joints and the structural stability. The achievement of creating an effect using the fabric worked really well. this contrast with the invisible perspex gave the illusion of a floating skin. this really emphasized the material in the end. overall the design complies with the brief and the personal space analysis, the only thing letting it down was the finish of the joints.
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5.0 APPENDIX
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Page
Drawings
Computation
Oliver
Liam
Krystal
Reece
Model Fabrication
Model Assembly
Photography
Writing
Graphic design
cover 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 19 20 21 22 23 24 25 26 27 28 29 30 31 32
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BIBIOGRAPHY 1.Chattanooga Bubble Soccer. (n.d.). Retrieved June 07, 2017, from http://www.chattanoogabubblesoccer.com/ 2.Detail john galliano. (n.d.). Retrieved June 07, 2017, from https://www.tumblr.com/search/detail%20john%20galliano 3.Tehrani, Y. (2016, September 28). Cantilever Project. Retrieved June 07, 2017, from https://uk.pinterest.com/pin/476748310538193194/ 4.Kovรกcs, I. (2015, March 09). Geometry. Retrieved June 07, 2017, from https://au.pinterest.com/pin/401735229236644159/ 5.Amilivia, C. (2014, December 13). Installations in space. Retrieved June 07, 2017, from https://au.pinterest.com/pin/407435097513620324/ 6.The Personal Space Dress. (2014, May 21). Retrieved June 07, 2017, from https://urbanarmor.org/portfolio/the-personal-space-dress/ 7.Brownstone, S. (2013, December 16). How To Protect Your Personal Space On The Subway: Spikes. Retrieved June 07, 2017, from https://www. fastcompany.com/3022097/how-to-protect-your-personal-space-on-the-subway-spikes 8.Steilneset Memorial / Peter Zumthor and Louise Bourgeois, photographed by Andrew Meredith. (2012, March 01). Retrieved June 07, 2017, from http://www.archdaily.com/213222/steilneset-memorial-peter-zumthor-and-louise-bourgeois-photographed-by-andrew-meredith 9.Tehrani, Y. (2016, September 28). Cantilever Project. Retrieved June 07, 2017, from https://uk.pinterest.com/pin/476748310538193194/ 10.Amilivia, C. (2014, December 13). Installations in space. Retrieved June 07, 2017, from https://au.pinterest.com/pin/407435097513620324/ 11.Styling by Baiba Ladiga. (n.d.). Retrieved June 07, 2017, from http://www.thefashionbirdcage.com/search/label/Styling%20by%20Baiba%20 Ladiga 12. Bond, J. (2014, December 18). 3d printing. Retrieved June 07, 2017, from https://au.pinterest.com/pin/333829391104316644/
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DDF Reading bibliography:
Enric Miralles,Carme Pinos, 1988/1991, “How to lay out a croissant” El Croquis 49/50 Enric Miralles, Carme Pinos, En Construccion pp. 240‐241
Heath, A., Heath, D., & Jensen, A. (2000). 300 years of industrial design : function, form, technique, 1700‐ 2000 / Adrian Heath, Ditte Heath, Aage Lund Jensen. New York : Watson‐Guptill.
Cheng, R. 2008. Inside Rhinoceros 4 / Ron K.C. Cheng. Clifton Park, NY : Thomson/Delmar Learning, c2008.
Sommer, R. 1969. Personal space : the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J. : Prentice‐Hall, c1969.A Scheurer, F. and Stehling, H. _2011_: Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 _4_, July, pp. 70‐79
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
Kolarevic, B 2003, Architecture in the Digital Age ‐ Design and Manufacturing /Branko Kolarevic. Spon Press, London
Marble, S, 2008. Building the Future: Recasting Labor in Architecture/ Philip Bernstein, Peggy Deamer. Princeton Architectural Press. pp 38‐42
Rifkin, J 2011, The third Industrial Revolution. Palgrave Macmillan.pp107‐126
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