Reflection by Sam Xie

DIGITAL DESIGN & FABRICATION SM1 2017

M4 JOURNAL - REFLECTION

Sam Xie

833508 Tutor Group 7 with Amanda

CONTENTS 0.0 Introduction 1.0 Ideation 1.1 Object 1.2 System Analysis 1.3 Volume 1.4 Sketch design proposal 2.0 Design 2.1 Design Introduction 2.2 Digitization & Design Proposal 2.3 Precedent research 2.4 Design Proposal v2 2.5 Prototype + Testing Effects 3.0 Fabrication 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 Credits Credit 5.2 Bibliography

7 9 10 10 11 11 13 14 14 16 18 20 23 24 24 28 28 34 35 38 40 43 45 46 47 5

0.0 INTRODUCTION In this project we explore the journey through the whole product life cycle. Starting from ideation, the beginning in which the seed is planted. Traversing to design, where it sprouts into something special. Tread to fabrication, the mighty oak has been formed. And after all that, we must ponder upon our achievements through reflection.

1.0 IDEATION Fully thrusted into the midst of design, the way ideas are generated can be distilled into a systematic process and replicated. It is not a matter of brainstorming or pondering, yet rather, it was the act of performing and starting that forms great ideas. Realising that ideas are merely re-constructions of what already exists, by taking pre-existing examples of designs and analysing them, we were able to draw inspiration and finally create new designs. By having design constraints of personal space and being wearable, it allowed the design to be focused around that aspect, perhaps even speeding up the design process as these constraints are a way to narrow down design choices. Familiarising ourselves with the nature of personal space and studying upon it, accelerated the selection of design choices as the priorities change depending on personal space. For example, it favours designs that have large volumes as opposed to designs that merely stretch over the skin. Having this design constraint also allows the discussion around personal space themes such as, metamorphosis, contrasting elements and shape. In this module, by choosing a rose, I came to be familiar with the organic nature of the item, by using abstraction, I was able to find a system within the randomness and figure out how it can be re-constructed. In hindsight, I think this was probably the most important lesson that could contribute to the direction of our final design, as it is just so similar in nature. The way the rose seems to be deceptively complex, the layering of the fabric, can be transformed into a systematic process, which allowed ease in 3d modelling the rose.

1.1 Object

1.2 System Analysis

Measured into Rhinoceros

1.4 Sketch Design Proposals

Essentially photocopied with a camera, the object is mapped into two-dimensional space at different angles. This allowed cross sectional images which could be placed in Rhino to map out the points in three-dimensional space. The object was then abstracted into petals in a layering pattern. Modelling the petal was achieved by measuring an individual petal and bending it until it was sufficiently matched. Individual petals were rotated along the central axis and the green stem cap was mapped in points then rail swept. Finally additional touchups were made to clean clipping elements and presented in a realistic rendering program, Blender.

1.3 Volume

2.0 DESIGN

Teamed with: Claire Qu

Design is no easy task. Through iteration and prototyping, there is sometimes a sense of being lost, as designs come and go and there didnâ&#x20AC;&#x2122;t seem like any progress at times. At the beginning, it was recommended that we played around with fabric choices from the beginning. We did a lot of extensive research and development of our designs through precedent studies of fabric pinching and prototyping of our own pinches. Most our initial designs were in fact inspired from the fabric pinching and had only little elements from our original proposed designs. Then what was thought to be most appropriate was to combine all aspects of each of our individual designs together while, adding a spin from what we learnt from

material choices. Firstly, we would take the fanning structure from benâ&#x20AC;&#x2122;s proposal, then the layering and fabric aspects from mine and Claireâ&#x20AC;&#x2122;s designs. This amalgamation of the designs had in hindsight, created the foundations of our designs in which we would work upon. Abstraction and Reduction is one of the key themes throughout this module. This was especially important when transitioning from hand constructed models to digital design as many of the folds had to be simplified to be computationally efficient. Therefore, when digitalised, the models appeared to be rather a simplification of reality, yet it was detailed enough to allow visualisation, digital prototyping and development of the designs.

2.2 Digitization & Design Proposals

2.1 Design Introduction Because of our team has derived from the unique system of fabric and non-solid folds, we thought it was appropriate to further explore aspects of the design in which we can pursue. We began by first researching and drawing inspiration from previous examples, writing down what we liked and what we did not. We then incorporated these designs into our own experiments that we did with fabrics. The fabric folding that we practiced allowed us to familiarise ourselves with what can be possible, what can look interesting and what might or might not work overall. Further along the line, we then developed some design proposals, radically different from M1 with the research that was conducted. This began as the starting point of our designs in which we would further develop later.

2.3 Precedent Research Influence The precedent was an interesting example of how simple materials such as paper was folded in such a way to provide volume, flow and duality. We especially loved this one as it encompasses everything we set out to accomplish from the beginning. The way a material is folded, it was able to produce volume and rigidity, essential to personal space. We needed this in our design as our fabrics were dull and floppy if there were not such folding techniques incorporated. We also thought that the silhouette that was produced is engaging, something that we also wanted to follow to avoid â&#x20AC;&#x2DC;blob-likeâ&#x20AC;&#x2122; models. It achieved flow, in this case we are drawn away from the body, outwards, we saw that our design lacked a sense of where to look towards, it is especially important to suggest to viewers a diversion or an easy path to follow, also important to the psychology of personal space. Finally, it also achieved duality, something that was our focus. The needle-like structures when viewed from the tip are hostile, dark and threatening. Yet when viewed as they are facing away, they seem vulnerable and shy, comfortable almost, and certainly less sharp, soft even. We craved this design aspects and needed to incorporate this to our design.

Pratt + Paper & Ralph Pucci by Pratt Institute Spanning paper folds

2.4 Design Proposals v2

In designing our ideas, we needed a strategy to stand out amongst others, so ou develop on an asymmetrical non-solid fabric design. Our focus theme was the d sonal space, being it can be friendly, warm and comfortable or hostile, large and Both designs v1 and v2 are asymmetrical because we believed in this duality in o appendix); an example being eating next to a left-handed person, while being r how we may become very uncomfortable. The idea generation of both designs found on page 2 and 3.

The fan design representing the hard nature and hostility of personal space was drawn from the file design of our M1 journal (appendix 3). With this design, we wanted to further expand on the duality of personal space through variance in elements, such as the harsh repeating fans in contrast to the soft petal-like leaves of the fabric on the body. The fan designs to be angled off center outwards, to reflect the personal space bubble as well (found in appendix 2).

ur solution was to duality of perd threatening. our space (see right handed v1 and v2 are to

2.5 Prototype and Testing Effects

The wrong effects As our design is made up of a single fold layered, we needed to do some prototyping on what materials that could the form. We specifically wanted materials that we transparent to further the duality of personal space, being that one side of the model would be more dense and opqaue than the other. It was found through developing the feather, it would often not have structure to stabilise itself in the region near the head (the part that fans out). Experimentation with structure of the aluminion specifically as it has reflective elements, the opposite of the transparency of the fabric. Though

it looks cheap, we are still working on a method to stabilise. One proposed method is dipping the fabric in a hardening gel or to heat the fabric into itâ&#x20AC;&#x2122;s form before cooling, like smelting fabric. To further test the overall design of the model, we needed to have a real-life example to draw upon and to see whether it may be viable. It dispels some issues I had that it may look too messy with transparent fabrics layering on top of each other, as we can clearly see now, each layer distinctly, one over another without being too overwhelming. Again, we see the aluminum to hold the fan structure upright, in future, it may be all one piece. The aluminum also tests

the reflectiveness of the material and effect. However, it does seem like the fabric masks the aluminum, making it look slightly dull. It is also the case that the aluminium, being able to bend, can give forms to the fabric in which it is wrapped around, allowing it to shape to anything, in this case, cylindrically. As we said earlier, we wanted to further investigate the contrasting elements of fabric and metal. The first effects testing was the â&#x20AC;&#x2DC;specksâ&#x20AC;&#x2122; of reflective material in which would fade away towards one side of the body, exposing one side to the transparency, and the other being having a sort of armor. We tested various ways to add this, from stacking to sowing and gluing.

Another proposed idea was to have a machine laser cut a mask with diamond holes, in which we could layer over the fabric and spray paint silver paint, or even glue then stick on metallic shards. We found the above method tedious and would essentially take forever to make for our whole model, so we tested an inverse, where we could use machines to cut the metals for us, essentially the inverse of the above. Though it may be seen as too metallic. Further investigating ways to utilise machines, we thought to have linking shards so the machine could cut the shards all at once. However, we were afraid the links would be too jarring and not elegant enough of a solution.

3.0 FABRICATION Teamed with: Claire Qu

At the end of module two, there appeared to be a severe lack of progress in the prototyping department. The digital modelling gave us the power to visualise some inspiring designs, but when it came to fabricating these ideas, it fell short for a couple of reasons. The most prominent reason was that the digital model was purely for visuals and did not account for how the structure was to be made, or held together. Along with the questionable material choices, it fell short in achieving our desired outcome as the prototype tried too hard to achieve the 3d look without having its own properties that could have been exploited. This was partly due to the lack of communication and thought from the translation from digital to reality. During this module, the real push was to achieve the fabrication of our digital design. As we were quite behind in this, along with technical difficulties of not being able to use time-saving machinery (laser-cutter), it made it even more difficult to catch up and have a fabricated model by the deadline. So, we had to compensate with rapid prototyping as, it was essential to have a full prototype available to see where it could have gone wrong. After

achieving a system whereby, the design was systematic, there needed to be a full prototype to see whether it would work. There was not enough time to manually create this prototype, so we really wanted to utilise the laser-cutter to cut not only our blue-prints, but time as well. Thankfully, we could achieve this in paper form, and discover weaknesses in our design, which we would later iterate on the design to achieve unity. From the realisation that the full design was inherently flawed, there was very little time to radically change the design to be unified. While not completely building from the ground up, by using knowledge gained in the digital design of the original model, we were able to produce the model and blueprints for this newer design, albeit after some technical difficulties. The readings allow us to make sense of the fabrication process that were available and not limit ourselves to one technology. While we did see potential in some suggested machines, yet some did not seem viable for out tasks. The readings really pushed an algorithmic approach which was vital in the assemblage of our design.

3.2 Design Development & Fabrication v2

3.1 Fabrication Intro. It was very saddening that after countless hours designing digitally we could not get close to the design through prototyping with materials. It was evident through the feedback that our design lacked a system which therefore looked messy. I was quite happy with the design digitally, yet we did not get much feedback on improvements in that department, it was clear that the prototyping has vastly let us down. It was also evident that our effects testing had failed as well as it was not nearly cohesive enough. By the end of module two, it was clear that we were noticeably behind when compared to other groups. It is also important to note that this is when our team member, Ben had left, which also was a team morale low at this point.

We decided to utilize some previous folds which we had experimented with initially. We developed an algorithm to allow for a more consistent fold. This was introduced to combat the random nature of our design and give it more procedure. This new fold will limit the number of attachment points while also allowing more folds to be seen. Such a new implementation also meant that we had to re-think our effects testing and temporarily halted development of the reflective effects while we focused on improving the fundamental design.

3.4 Design Development & Fabrication v3

Machine driven production

835967 Claire Qu

Sheet 05 of 10

From the digital design to fabrication, it was almost impossible for product like ours to simply unroll and print. Further investigations had to be done to optimize our design for fabrication processes. Being that the design was paneled in a polar array, when a single piece of the fold was unrolled, it produced an arced projection. Through mathematics, we were able to approximate the folding to be combined into a single piece to be able to fabricate. With foresight, it was important to distinguish where to fold, so with the algorithm developed, we incorporated it into the fabrication blueprint in alternations. The holes also had to be added to the blueprint to account for the wire and was also alternated throughout the blueprint. As some pieces were too large for the laser cutter to cut and could not fit, some parts had to be reduced in size and in turn, had to account for the part in which it splits and joins. Pieces were also labeled according to their position on the body and the number if they were to be split to fit. In the case of fabrication, the etches and holes were optimised only for paper as it was the only material that was available to fabricate which had the closest properties to our target material choice.

A journey through the details

Because of our change in design, the aluminum duality was disbanded and we needed to incorporate a new effect and detail that would complement this. Through prototyping we of many details but many of them fell short of the aesthetic quality we were after, or had some large problems in the implementation of the details. We explain why we decided on the decision of each detail.

The first image on the left is an example of an interesting design where it was not possible to implement variance. As we were looking for some variance in the design, the foldâ&#x20AC;&#x2122;s attachment points (where the sticky tape is) were to increase in attachment points as they go along the structure. Yet as this happened, with an increasing amount of attachment points, the amount it would stretch would decrease, leading to a clumping of the design. So, we could not continue with this detail.

This design was created in an attempt to both allow the folds to be stabilized and create an interesting detail. The idea would be that as each hole is cut, the loose part would fold back and would be sown onto the fan to the back, allowing an attachment point for both the fan and detail. In the end, this was not viable because of the sheer number of holes that needed to be sown and cut.

This final design was considered near the end stage as it was simple yet provided variance in our design. Like the previous design, as each fold is parted backwards, it allowed an attachment point to the fan to allow a double usage of a sow. This was, however, more effective as there were less parts to sow and we were able to include a contrasting layer underneath that would be exposed when folded backwards. (Inspired by Appendix 1.0)

In the beginning stages of our development, we experimented with different materials that would be candidates for the final prototype. By experimenting early one, we had a good idea of what materials are similar to eachother.The prototyping in such materials that did not provide enough structure, we knew we could not have thin materials for the final design. Felt was chosen for the final design as it proved to be flexible enough while also having an amplified rigidity when folded. Interestingly, we decided to use paper to quickly prototype the entire structure as it was affordable and quick to fabricate. As paper generally holds its shape relatively well when fold, we could use tape to hold its form while we decide on how we will join pieces together. By the use of this prototyping material we were able to identify design flaws and therefore work to progress our design much quicken than if we had hand crafted a fabric version as a whole.

Utilisation of digital design Response from reading: Architecture in the Digital Age - Design + Manufacturing/ Branko Kolarevic, Spon Press, London c2003

There are several processes through which an object can be digitally fabricated, including 2D cutting, 3D cutting, formative, and additive techniques. In 2D cutting, a sheet of material is cut in two axes, and in 3D cutting, in 3, 4, or 5 axes (includes rotation of the material or the drill bit). Formative processes create forms by applying pressure to sheets of material to deform them in the desired manner. Additive fabrication takes sections of the 3D model and reproduces them in layers.

Implication of digital fabrication In our design, digital fabrication was used create the shapes of the folded pieces, and to indicate fold lines and connection points. Because the FabLab was unwilling to cut felt - the primary material from which our 2nd skin would be made - we instead had laser cut card templates made, with holes indicating the pinch pattern. The templates were traced onto the felt, and the felt pieces were cut out, ready to be folded and assembled. The role of the laser cutter in our project was as a device to allow the digital model of our design to be accurately translated into physical pieces; no digital processes were used in the assembly of the 2nd skin.

Response from reading: Digital Fabrications: architectural + material techniques/Lisa Iwamoto. New York: Princeton Architectural Press c2009

Because the material of our design is fabric, many of the constraints associated with digital fabrication, such as the need to create developable surfaces, do not apply. For example, a simple pinch of a fabric will doubly curve naturally. Following the digital fabrication process was more of a matter of visualisation and precision in fabrication for our design; its irregularity would have made it difficult to visualise and document using manual methods, and more difficult to accurately translate into its physical form.

Wearability issues It was through prototyping the while attire that it was discovered that our design was not well optimized for wear-ability. It did not really sit together as a whole and would hang off each other. It also proved that the wire structure became overly convoluted and undesirable. It showed that the wire structure would only be good for temporary measures and did not have enough simplicity for its wear-ability factor. Although we used a paper prototype to quickly fabricate the entire structure, we opted to go with felt for our final material choice.

3.5 Final Digital model

3.6 Fabrication Sequence Trace out printed stencil with markings onto fabric to be ready to cut.

Fold such fabric according to the algorithm provided.

Insert a contrasting piece beneath the folds.

Sow bottom according to algorithm.

Use adhesive to attach contrasting layer to fold. Combine all pieces into one with single piece of wire running through.

3.7 Assembly Drawing Fragments to a whole

Folding the details

Each cut fragment is to be connected through stitching through hidden compartment.

Each individual piece is to be fold in such a way to produce a overlapping fold in that no cross section is to have a layer more than 3 bands thick.

Assemblage of compartments are as shown on the left. Pieces that fit in a laser cutter (less than 850x560 mm) will be labeled on each trailing edge in alphabetic-numerically.

The algorithm designed to facilitate this and produce a polar array of such folds which would allow curvature around the body.

Trailing edges are to be connected in chronological order as it flows throughout the piece. For example: A1 flows to A2 which connects to B1 which flows to B2 which connects to C1 etc. The figure on the left is in that order with the A pieces at the bottom, B above that, following to the top with piece K. It is important to flip pieces that are printed upside down to ensure the circular nature of the connections to prevent any S shape configurations. The circular nature allows the design to snake around the body and hold itâ&#x20AC;&#x2122;s form and framework.

To maintain the shape, each piece is sown together with another to produce such continuity. To transform it to the desired shape, structural integrity is managed through a solid, yet flexible, wire which runs through the holes that are to be cut. The wires will be hidden under the folds with one side having parting exposure which will be hidden under an additional layer of fabric sown on top.

Additional detail is to be produced with a parting of folds to reveal some internal structure (as shown on the lowest right image). This will also be kept in place by sowing in a proprietary function which will keep all folds in place.

Creating the form

Although it is not recommended to assemble such piece like shown in the right, the image shown gives a sense of where each piece is placed in relation to each other. Once the pieces are connected, it is recommended to fold the entire piece to this form given to the right, making sure each piece is correctly in place, relative to one another.

3.8 Complete 2nd Skin

4.0 REFLECTION This studio was a bitter sweet experience for me. I feel like I’ve learned incredible amounts about myself, work ethic and generally how design is performed. It was a privilege to allow such creative freedom in our designs and it would be usually after every studio session, I’d be filled with inspiration and ideas that would be ideal. However, there comes the part where the expectations do not align with reality. It is the constant grind of creating doing that allows great designs to be achieved, that motivation plays no role in success, but rather, it is dedication and hard work that allows great designs. By completing the second skin project, it has exposed me to the full production life cycle from ideation to fabrication, and believe is an invaluable experience which can be applied not only to design, but any product/idea. Overall, it is an experience that I’d recommend being necessary for developing oneself. Teamwork was a core aspect of the design process and communication being vital to the livelihood of the project. If was often that ideas would be lost or deemed ‘bad’ without explanation, but rather, mere mumblings that hinted members did not like it. I tried to overcome this by putting more words to thoughts and probing questions around to get a definitive answer, and learnt that it works. It also must be said that our team diminished from a group of three to only a pair of us. The loss of a team

member was devastating as it meant that everyone must output 50% more work. Given other responsibilities and time constraints, we couldn’t quite achieve the output of a threeperson team, let alone compete with teams of size four. Yet we tried our best in maximising our time, and creating an efficient workflow that allowed us to skip past many of the roadblocks that would encumber large teams such as choosing ideas and back-and-forth communication. Through the studio, the work output required for this subject was quite intense, and not what I am used to in my usual Science subjects. Requiring a lot of hours to a great outcome, I had to sacrifice other subjects to keep up. This often meant rationing time throughout the week to work on the subjects, which really taught me strategies in time management. It was challenging. The time lag in learning to implementation was almost instantaneous, leaving moments of being lost, yet ultimately allowed me to learn this quick implementation of knowledge. Some weeks there would be very little in our design progression and believe it was those times that if we had put in the effort, would have had a better time nearing the deadline, or have a better product to show for. In hindsight, it was probably worth working with the Fabrication Lab beforehand, testing how it worked, before we figured out that we could not actually laser-cut fabric, and our

design could have compensated for that. From these skills, I now believe rapid development and prototyping is possible the best for a great outcome. Finally, it is without saying that this subject is one of the most eye opening in terms of how a product life cycle is achieved. Through the ideation phase, by sheer numbers, an is created. Through many, many designs, an idea is formed into a brilliant design. And through prototyping and prototyping, that an outcome can be finally achieved to its best form. It is this mantra and mentality that I believe will truly be beneficial for me, for the rest of my life. While it might or mightn’t have seemed obvious, it is through experiencing this that it really has been ingrained in my head, for the better. The final readings ring true and close to me. The aspect that craft is only acquired through time, and there is no quick way around improving. It was the process of crafting which allowed the progression to create better crafts, as the cycle continues. While the reading mentions risk is to be reduced, our design was quite ambitious and risky to achieve. However, as with the reading, risk can be reduced in many distinct aspects, and our goal was to ensure that the risk of failure was at the minimum.

5.0 APPENDIX

he Design Walker (2017)

5.1 Credits

CREDITS

Page

Drawings

Computation

Model Fabrication rr

Cover

Graphic Design

9 r

r r

13 r

15 r

16 17

18 19

21 r

29 30

r r r

r rr r

31 32

r r

Sam Xie

r r

Writing

Model Assembly Photography

Claire Qu

5.2 Bibliography Iwamoto, L. (2013). Digital fabrications. 1st ed. New York, NY: Princeton Architectural Press. Kolarevic, B. (2003). Architecture in the digital age. 1st ed. New York: Taylor & Francis, pp.29-54. Pratt Institute (2017). STUDENTS RECOGNIZED BY TOP INDUSTRY PROFESSIONALS FOR PAPER SCULPTURE DESIGNS AT PUCCI SHOWROOM. [image] Available at: https://www.pratt.edu/news/view/students_recognized_by_top_industry_professionals_for_paper_sculpture_desig/ [Accessed 7 Jun. 2017]. The Design Walker (2017). Tuck & Fold. [image] Available at: https://uk.pinterest.com/pin/467952217512657283/ [Accessed 7 Jun. 2017].