DIGITAL DESIGN + FABRICATION SM1, 2016 PRISMATIC SLEEPING Sarah Fearn-Wannan 762096 James #2 - Thursday 10am
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Contents: (below is the basic requirements and you are free to add more or change to suit. Throughout the journal cross reference relevant precedents, lecture materials, required readings, independent research & personal design work) 1.0 Ideation 1.1 Object: Measured drawing set of selected object. Image/s of digital Rhino model of selected object. 100 words describing how object was physically measured + later modelled in Rhino 1.2 Object + System Analysis: Analytical sketches/drawings abstracting the rule/material logic in the found object 1.2 Volume: Images of developmental sketch model produced after Making workshop ( reconfigured material system). 1.3 Sketch design proposal: Include all your 3 ideas of your second skin Integrate images with approx. 200 words of critical analysis describing the work of this module & reflecting on key themes raised in M1 reading questions 2.0 Design (list your team’s member name on this cover page) 2.1 Design development intro: 100 words that outline what aspect of your phase 1 proposal is taken forward at this stage? 2.2 Digitization + Design proposal v.1 : 1 or 2 ideas of your second skin ideas as modelled in Rhino using the digitized mesh of the body as a base. Plan, Elevation and Axonometric drawings required. Describe each proposal summarising and rationalising design decisions 2.3 Precedent research: Images + Concept Diagrams 2.4 Design proposal v.2: Two version of design showing digital development in Rhino and exploring key words from chosen precedent Plan, Elevation and Axonometric drawings required for each proposal . Describe each proposal summarising and rationalising design decisions 2.5 Prototype v.1+ Testing Effects: Document prototyping one segment or fragment of design. Describe desired effects of your second skin in relation to personal space + Include photographic sequence testing these effects. Integrate images with approx. 200 words of critical analysis describing the work of this module & reflecting on key themes raised in M2 reading questions 3.0 Fabrication (list your team’s member name on this cover page) 3.1 Fabrication intro: 100 words that review your design after M2 If you have split from the group you will need additional text + images to communicate what concepts or ideas you have taken from the groupwork and how you have evolved the design 3.2 Design development & Fabrication of prototype v2: Sketches/Diagrams of design development in reponse to feedback Plan, Elevation and Axonometric drawings of updated Rhino model. Photographs of physical prototype v.2. 3.3 Design development & Fabrication of prototype v3: Sketches/Diagrams of design development in response to prototype v2. Photographs of physical prototype v3 3.4 Final Prototype development + optimisation: Pictures, diagrams + text explaining how design was optimised for fabrication/material usage and effects.(include vector linework of unrolled + nested cut file) Include text and images describing how research/readings/precedents influenced prototype development 3.5 Final Digital model Plan, Elevation and Axonometric drawings of final Rhino model. 3.6 Fabrication sequence: This should be images showing the construction process presented as a storyboard sequence. We suggest the team to set up a static camera position that fully record the entire building process. 3.7 Assembly Drawing: Vector image of Assembly Drawing of whole or part of model ( Exploded Iso/Axo) annotated with assembly instructions 3.8 Completed 2nd Skin: Images of project photographed on body and in detail Integrate images with approx. 300 words of critical analysis describing the work of this module & reflecting on key themes raised in M3 reading questions. How has the reading changed your views or thoughts on the making process? 4.0 Reflection. This section should be a critical reflection of your overall design process and experience. What have you learnt, what aspect of the studio did you find challenging? How can you improve your design and where do you think things went wrong or well? Include a reflection on the key themes raised in the M4 reading questions. max 500 words in total. 5.0 Appendix: You can include the below as an appendix or as in text footnoting and image captions 5.1 Credit: Credit every drawings / models / diagrams in your book to the appropriate member/s of the team - See example on p18 5.2 Bibliography: Use Harvard system; http://www.lib.unimelb.edu.au/recite/citations/harvard/generalNotes.html - See M4 tasks appendix for details
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0.0 Introduction Design and make a sleeping pod for use on campus. Ensure that a three-dimensional volume is created to define the personal space boundaries of the user. Be inspired by the umbrella as an example of the skin and bone material system.
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1.0 IDEATION
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1.1 OBJECT
1.11 Section of open umbrella
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1.12 Section & Elevation of closed umbrella
1.13 Plan of open umbrella
The measured drawings were created through close examination of the umbrella. The first part of my method was photographing the object to improve my understanding of the shapes in a twodimensional format. Then I used a tape measure to physically determine the dimensions of it and converted this to a working scale of 1:5. I modelled the umbrella on Rhino in the general order of bone to skin elements because the connection points of the bones need to be created before the skin can be added. In terms of creating a proportionate model, I built each geometry according to the dimensions I had ascertained in my sketches.
1.15 Model: Perspective of open umbrella
1.14 Model: Elevation of open umbrella
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1.2 SYSTEM ANALYSIS
1.21 Section showing deformation
The Skin and Bone System comprises of two integral elements which through my analysis, I discovered how highly each relies on the other. The two components of the umbrella increase in strength when pressure is applied to the bone structure. It deforms outwards which causes the skin to become taut, hence becoming stronger. This object is only effective for its intended purpose when the system is under stress. The skin and bone parts each constrict the other. The moveability of the fabric is limited by its points of connection while the fabric restricts the flexibility of the skeleton. The points of connection are pivots at locations along the skeleton which requires anchoring. These junctions determine where movement can occur along the rods.
1.22 Elevation of central pivot
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1.23 Plan of central pivot
1.24 Elevation of connector
1.3 VOLUME
1.31 Sketch Model: Reconfigured Material System
The main idea I aimed to explore through this model is the reliance which the two elements have on each other. While the skin is in tension and its form is dictated by connection to the bone structure, the skin limits the movement of the skeleton. Therefore, in this model the membrane reduces the possibilities for movement of the bones through being stretched taut across the bones themselves.
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1.4 SKETCH DESIGN PROPOSALS
1.41 Bean Bag Cave
The emphasis is on giving the user the freedom to sleep however they to want rather than defining their sleeping position for them. The umbrella works to provide a shield from outsiders and to create a safe-feeling, dark sleeping environment.
1.42 Collapsible Portable Frame
Proposing a pod that is collapsible is significant because it is integral in understanding the actual use of the end product. Making it collapsible and portable implies an understanding that sleep may be required in any environment. Therefore, this design responds to the need for personal space at any time, anywhere.
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1.43 Sleeping Cage
The most important element here is how the skeleton responds to the varying need to define personal space at different areas along the body. The skeleton creates this space while the skin element defines the actual boundaries. Furthermore, the gaps between the bones could be left transparent to provide the user with vision of their surroundings rather than being isolated from them.
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2.0 DESIGN ... With Muchen Yan
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2.1 DESIGN DEVELOPENT INTRODUCTION 2.11 Design Proposal by Muchen
“The invasion of personal space is an intrusion into a person’s self boundaries” (Sommer, 1969, 27). It is for this reason that we must define the personal boundaries and provide coverage for the user, as discussed in my third proposal. Through consideration of what a sleeping pod is, Muchen and I decided that our design would focus on the upper body. As well as this being the area that most requires personal space, sleeping often occurs at university while sitting in a chair, so the design needs only to support from the shoulders upwards. The form of our design will continue with Muchen’s idea based on pyramids because they aesthetically express the skeleton structure and will create a rigid system.
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2.12 Personal Space and Support Requirements
2.2 DIGITALIZATION AND DESIGN PROPOSALS V.1 The first design proposal is heavily influenced by Muchen’s proposal from module 1. It continues on the theme of triangular forms that a positioned around the neck to provide support. The use of pyramids has been continued because they create a visually interesting design and because they are structurally rigid. The design has been enlarged to define personal space for the face and chest. The inspiration for the second proposal here was driven by the idea to trial a different geometry. We didn’t want to get stuck with the idea of using only pyramids. Personal space is not so obviously defined; instead boundaries are merely indicated. The effect of this is that the design is not really a three-dimensional volume as what is asked for in the brief. Also, it is potentially less successful as a tool for enabling sleep due to the lack of feeling of enclosure.
2.21 Front
2.24 Front
2.22 Left Side
2.25 Left Side
2.23 Perspective
2.26 Perspective
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2.3 PRECEDENT RESEARCH 2.31 Snowdon Aviary (Cedric Price)
2.32 Wearable Architecture (Richard Sun)
The triangular forms are strong yet appear weightless and this is a design intention of ours. The structure is wrapped in a thin membrane which assists in maintaining the rigidity of the skeleton. In our design, personal space could be defined through the skin element by physically creating a shield.
This piece of fashion provides a standard of the aesthetic which we aim to achieve. Its a fantastic example of the way that our finished system can be dramatic and sophisticated.
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2.33 Screenplay (Oyler Wu Collaborative)
The triangulation is integral yet less dominant in this project. The most impactful element is actually the rope that has been threaded between the skeleton. It creates a dynamic effect by the twisting ropes and even negative spaces are made interesting by the patterns that the ropes reveal.
2.4 DESIGN PROPOSAL V.2 It was decided that for the version two proposal, the concept using pyramids would be the one worth pursuing. Overall, the focus is to develop an aesthetically dramatic and bold design. This is attempted through maintaining emphasis on the strength of the triangular pyramids which should also appear weightless as they protrude off the body at seemingly gravity-defying angles. The Oyler Wu project has been hugely influential as it provided inspiration for how to deal with the skin element of the system in an abstract way; thin wires will be twisted through the interior volumes of the pyramids to provide a sort of coverage for the user.
2.41 Perspective
2.42 Left Side
2.43 Back
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2.5 PROTOTYPE V.1 & TESTING EFFECTS
2.51 Fragment of prototype
2.52 Whole concept of prototype
For the module 2 presentation we made two sorts of prototypes of differing materials. Image 2.51 is made of the material of choice; plastic tubing. It is a more accurately detailed model which shows the effect of the twisting wires and the use of fabric as a “base inner skin�. Image 2.52 is made with (cheaper) straws which allowed us to convey our whole idea of the design flowing from the face, around the neck and shoulder to the chest.
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2.53 Effect of concept
2.55 Effect of wires
2.54 Effect of fabric
The triangular concept we chose to follow through with has proven to be a pleasing decision. Image 2.53 exemplifies the geometries of the 2D shapes which are tilted and tessellated to create a prismatic, volumetric effect. Images 2.54-5 show the more detailed effects of the skin elements. In particular, the mesh fabric (used to sit the frame comfortably on the shoulder) allows the structure to fold, potentially making the design portable.
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3.0 FABRICATION ... With Muchen Yan
3.1 FABRICATION INTRODUCTION The skin and bone system was explored throughout module two, as a design which extended from providing coverage to the face, around the back for neck support and to the chest where personal space is required. A rectangular form was considered but the triangular skeleton was settled on due to its dramatic, sophisticated aesthetic. As a critical reflection of the design thus far, the three-dimensional qualities must be further exaggerated, especially as a device which needs to define personal space boundaries. Secondly, the material choice for the skin effect needs to be re-selected as the wire holds its own shape too strongly. Further, the fabric mesh shall be dropped because the structure is extremely light so doesn’t benefit from the intended comfort the fabric would provide.
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3.2 DESIGN DEVELOPMENT & FABRICATION OF PROTOTYPE V.2
Image 3.21 demonstrates how dramatic the elongation of the pyramid apexes can be. The volumes become much larger as well as creating a more threatening exterior. The expanded personal space is necessary but as a design decision we were not satisfied with such a harsh and scary aesthetic. Furthermore, the volume should be more protective of the head as it is an area that seems vulnerable. The design was then developed with the intent of softening the “spikes�. This could be achieved by reducing the heights of each pyramid but then simplifying the base tesselation through enlarging the triangle bases. This results in the pyramids appearing less severe while maintaining the integral personal space. The base structure has also been brought up to providing better coverage for the head.
3.21 Improved personal space
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3.22 Skeleton development
3.3 DESIGN DEVELLOPMENT & FABRICATION OF PROTOTYPE V.3
3.31 Skeleton Front
In the previous development, the pyramids on the chest lacked support and were unnecessarily aggressive, so they have been repositioned and rescaled.
3.32 Skeleton Left Side
The frame at the back has been designed to fit as a support for the upper back when leaning on a chair. Overall, the design now appears more friendly while better defining the users’ personal boundaries.
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3.4 FINAL PROTOTPYE DEVELOPMENT & OPTIMISATION In the previous presentation, the skeleton of plastic tubes was held in place with elastic. This was an inadequate solution so we explored the use of 3D-printing joints and changing the materiality of the tubing. Aluminium is suitable because it is strong, lightweight and has a nice visual quality. The joints were purposely printed in white to compliment the overall colour scheme.
3.41 3D-printed connector
Two types of connectors were trialled; one where the “arms” would have the tubing placed inside them and the other where the tubing would sit on the exterior meaning that only the spherical part of the connector would be visible. The joint with the “hollow arms” was selected because we didn’t want to hide the connection points since they are an integral element of the overall system and they link back to the original umbrella system which I analysed with focus on these pivot points within the bone structure. To produce the hyperbolic effect, various materials and thicknesses of strings were tested. This relatively thick cotton thread was selected as it best displayed the desired effect. Furthermore, the number of holes to be drilled on each tube was controlled using Grasshopper to produce the desired impact of the gradiated spacing and twisting, evoking a dynamic appearance.
3.42 Connector with hollow arms
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3.43 Connector with solid arms
3.44 Hyperbolic effect of string
3.5 FINAL DIGITAL MODEL 3.51 Front
3.52 Left Side
3.53 Perspective
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3.6 FABRICATION SEQUENCE 3.61 Label joints and tubes
3.62 Model joints on Rhino
3.63 3D-print the joints
Thread string through drilled holes
3.65 Assemble according to labels 3.64 Unroll tubes for measurements
Cut and drill tubes
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3.7 ASSEMBLY DRAWING 3.71 Whole design exploded The Prismatic Sleeping Pod is comprised of three elements; the tubes, the 3D-printed connectors and the strings. Once the tubes are measured, cut and drilled the structure can be assembled. Through a good understanding of the composition and rigorous labelling strategies, the correct set of tubes can be placed in the appropriate joints. As each set is built, each section becomes rigid and self-supporting. The pyramids are then connected to each other and the designed form takes shape. With the bone part complete and strong, the skin element is threaded through the drilled holes to produce the dynamic hyperbolic effect.
3.72 Pyramid detail
3.73 Pyramid detail exploded
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3.8 COMPLETED SLEEPING POD
3.81 Right Side
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3.82 Front
3.83 Perspective of Top
3.85 Model
3.84 Detail
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4.0 REFLECTION
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4.1 REFLECTION This subject has presented me with the most realistic representation of a design process, out of any other subjects I have taken. Throughout the semester of DDF, I have come to better understand the realistic experience of the design process because we were aiming to fabricate a real model; not just a theoretical representation, so I was forced to consider practicalities and work with factors outside what I could control. This level of engagement in the making process is invaluable, as explained by Marble (2008). The level of considering options and trialling ideas has been an eye-opener as this has been an element of my past experience that I would leave unexplored because there was no real need to have such a wide base of development. The process I was expected to engage in was clear, logical and I think this was assisted by the need to rationalise every decision for the journals. Furthermore, I have come to understand the benefits of building an accurate Rhino model to assist in the making process, as well as the impact of high quality photography on the presentations. My experience of this subject has been one of extreme challenge. Practically, it has been a huge effort to continue working at the required level of intensity throughout the whole semester. It was especially nerve-wracking when the fabrication process of the final model begun. This was due to the high level of risk involved at the stage when the information from the Rhino model was transferred into real life measurements, cuts, drills and prints. While we could trust in the accuracy of the Rhino model, there was no guarantee that our craftsmanship would be free from human error (Marble, 2008). In every mistake made, time and material would be wasted; we were lucky that we only had to deal with a few errors. Moreover, I can understand how a process such as this would occur for any new product which once perfected, could quite easily be mass produced. I think that to some extent, even my prototype could be manufactured by machines.
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In terms of the actual final design, I am very satisfied with the result. I feel that the most successful aspect of the model is the design itself. This is because it retains the essence of the umbrella system which we were originally assigned and because the way that the fabrication process worked for us meant that we had the ability to physically make what we had designed virtually. I believe that our sleeping pod meets the requirements of the brief and that it successfully reflects the informal design intentions which we set for our project; that the face needs the most personal space, that to sleep with piece-of-mind one desires a feeling of enclosure or coverage, and that a sort of neck support should exist against a chair back rest. Additionally, the overall visual appeal of the model is a satisfying result.
4.11 Left Side with Chair
There were inevitably parts throughout the process which were unsuccessful. The first major problem was a delayed delivery of materials which continuously inhibited and slowed the process for many weeks. There’s not much I can do to prevent this in the future but failings of suppliers and delivery companies are something to be aware of. Secondly, it became clear to me how much room for improvement there is for 3D-printing. Rifkin (2011, 117) recognises the youth of the technology and the unimaginable future that they hold. I agree that it is an amazing technology, but it seems so counter-intuitive that this futuristic fabrication method can be ground to a hold by something as simple as temperature regulation faults. Having said that, it is through the use of such technology that we could create such a high-quality prototype. Something that I would have liked to explore further would be the possibility of a collapsible frame to improve the portability of the model. This could have been achieved by modelling some moveable joints. Realistically, this would only have been possible with much more time and a higher level of technical knowledge on my behalf. Additionally, I think that the structure feels like a separate entity from the body. It would have been interesting to better integrate it with the user. This could have potentially been achieved by designing the form to extend further down the torso and arms, evoking a feeling of wearing armour which fits to the body, rather than merely sitting on the shoulders.
4.12 Right Side
In conclusion, DDF has provided the framework for an engaging and meticulous process which has taught me to consider design decisions in far more detail. I have been given the opportunity to take control of the fabrication stage and see the design through to its completion. Dealing with obstacles along the way widened my knowledge and skill bases which will change the way I view similar problems in the future. I am sure these new skills will be valued in my future studies and approaches to new design processes.
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5.0 APPENDIX
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5.1 CREDITS
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5.2 BIBLIOGRAPHY
Marble, S. 2008. Building the Future: Recasting Labor in Architecture / Philip Bernstein & Peggy Deamer. Princeton Architectural Press. 38-42. Oyler Wu Collaborative. 2012. Screenplay. Price, C. 1965. Snowden Aviary. Rifkin, J. 2011. The Third Industrial Revolution: Distributed Capitalism. Palgrave MacMillan. 107-126. Sommer, R. 1969. Personal space: the behavioral basis of design / Rober Sommer. Englewood Cliffs, N.J. : Prentice-Hall, c1969. 25-38. Sun, R. 2012. Wearable Architecture.
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