Module 4 kevinsek 638985

DIGITAL DESIGN + FABRICATION SM1, 2015 M4- Reflections: Volumetric Straw -Screen Kevin Sek and Elizabeth Seah 638985 & 699633 Michele James

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M1 Ideation

Ideation Section and Profile Heath, Heath and Jensen (2000) highlights the different professional language, attitudes and aims of 5 principal groups of designers, the craftsman, industrial, engineer, architect and the artist. There is constant interaction and input between Art, Science and Technology which raises the question of what makes a good design. In the case of the egg cutter, it is designed to be cheap and functional while simplifying the more complicated process of cutting an egg.

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Ideation 1:1 Measured drawings

Ideation Digital replica

To create the plan drawing, first the outline was traced by placing the object on tracing paper. Measurements were made using a ruler at various points within the object to fill in the outline as accurately as possible. For the Elevation and Section drawings, as suggested by Paul Loh in Lecture 1, images of real object were taken along with a ruler for scale, reprinted and then traced over using tracing paper.

Measurements were then made with a ruler for final positioning.

The measured drawings were scanned and inserted into Rhino. Using these drawings as a guide, a 3D model was constructed.

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Ideation Exploration of material system

Ideation Reconfigured Object Design overview- Utilizes a simple section and profile idea and can be separated into 3 main components, the supporting base with hinges, the “lid” and central platform consisting of section A – E. Material- Industrial grade plastics that is can be casted and moulded.

Cutter “lid” made of durable metal wires with an edge allowing it to cut through an egg. Cost effective with mass production in mind.

Function- Hinge mechanism allows for 180 degree rotation. Allows for sectioning of the egg. A raised platform with grooves allows for passing

Reconfigured object utilizing ideas from the egg cutter, specifically the cutter

of the wires without inhibition through the egg.

section with wires. Multiple sections with wires were stacked in an ascending anticlockwise manner amplifying the effect that the wires created. This creates a negative space volume in which an object can be contained.

θ =180 °

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Ideation Second Reconfigured Object 2.0 DESIGN Elizabeth Seah

Feedback was received that the initial object was too rigid. New reconfigured object had sections with wires attached to rubber tubing that could revolve along the metal rails arranged in a spiral shape. The sections can be moved to accommodate different volumes. The overall spiral structure can be compacted like a spring to reduce space.

M2 Design

with Elizabeth Seah

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Design Diffusion and Distortion

Design Context and Considerations

After careful consideration we used a proposal from Elizabeth as our main source of ideas. With the main focus revolving around curved layered surface with rod-like projections creating a volume which encloses the human body. The second skin especially acted as a barrier or shield to protect an individual’s more sensitive areas. Panels were intersected with rods, and translucent layers stacked upon each other diffuses light and hides the more sensitive areas of the body.

Concept - Shield - Translucent - Intersection - Panelling

In the week 3 lectures, we learnt about the resolution of ideas through

Unknown work - Unknown - Source: pixshark.com

Personal Space- Red highlights indicate

Initial thoughts- The pin-art toys provided some initial

areas of increased sensitivity where Elizabeth

inspiration and ideas regarding the direction of our final

felt that her personal space was being

skin. The pin-art or pin-screen is essentially a box with two

invaded. Grey areas were areas of less

surfaces in which an array of pins can slide in and out.

sensitivity.

Pins can be impressed into different shapes or drawings.

design strategy. This strategy consists of identifying context, constraints and

human torso

design

opportunities. The context is the main driving focus of the project and the

Key aspects

reason for the design. Constraints and opportunities in this case would pertain to

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the possibilities of digital design and its limitations, complex geometries and how

also acting as a barrier

to resolve it into the material world.

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Layering of flat translucent sheets that blurs the boundaries of the human body while Rod like projections that extends the area of protection while also providing a tactile

feedback to the wearer in the event of an invasion. Rods could be of different lengths or be extended by sliding out based on wearer’s state of mind -

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Rings that span the body and provides the basic structure for mounting the panels

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Design Proposal V.1

Design Proposal V.1

We wanted the surface to reflect the shape of the wearer, in order to achieve this, sections were made from a 3D model, offset to create a structure, and curvature embedded into the panels. To create a developable surface for the panels, the curves are modelled by splitting a continuous surface into many straight lines

Roadblocks: 1) Problem aligning the holes in which the rods can slide as panels are not directly offset 2) Final design was overly complex with too many curves 3) No easily accessible material was flexible or large enough 4) No way to attach the skin to the body.

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Design Digital design and its restrictions

Design Precedent

Developable surfaces, Pottmann et al. (2007) Some basic rules 1)A plane is always tangent to the surface along an entire ruling and not just in a single point 2) Zero Gaussian curvature in which a surface can be flattened to a plane without distortion 3) Offsets are also developable Material restrictions

Structure- The swoosh pavilion located in London's Bedford incorporated aspects that are

While our proposal was developable, we would have to cut many panels and find a method to attach each panels to the exact

applicable to our design. It consists of a fluid spiral created by a series of interlocking flat

locations which would be too complex as the panels would all be different. If we were to etch the bends in the panels instead we

panels. Curves in two axis were achieved from panels that were attached at an angle to the

would require large sheets of relatively flexible material. While polypropylene is an option, the fablab did not have sheets that were

rib-like sections which were also angled.

large enough to accomodate our current design.

Simplicity- Based on Scheurer and Stehling H (2011), design is a process of communication Top Down, Bottom up approach

in which an Idea needs to be conveyed appropriately to the builders in order to achieve

In our design workshops, we used simple objects and created complex objects simply by applying a pattern. While it is important to

a desired final product and therefore focus should be shifted away from the final product

remember that everything placed on paper is important, we recalled that design is not a linear process. In our proposal we were

The Swoosh Pavilion - 2nd and 3rd year students tutored

to the quality of the design process. A problem with our design process was that we

trying to solve too many problems at once, and focusing too heavily on the end product. We decided to take a step back and go

by Charles Walker and Martin Self - 2008 - Built at the

focused too much on the final product. The model should contain as little info as necessary

back to the drawing board.

Architectural Association school in London as the 2008 AA

to describe the properties of an object unambiguously (Scheurer & Stehling), and so we

summer pavilion

decided to simplify our model as much as possible to reduce any downstream problems with material and geometric considerations

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Design Proposal V.2

Design Prototype

Improvements: 1)

A dramatically simplified design

2)

2 basic shapes (solved manufacturing and material problems)

3)

Curves in 2 axis, repeated to create a volume (solved problems

with developable surfaces)

4)

Flat Panels can now be offset to allow for sliding of rods

5)

Unexpected effect

6)

Devised a way to attach to the body

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Design Testing Effects

Design Testing Effects

Structure- As each panel was essentially floating and only attached at one point to the midsections, and the midsections were held together by a single Perspex disc, we found that the structure was very fragile and unstable. We considered the possibility of connecting all the inner layer of panels and using finger joints or tabs for extra stability.

Material – Use of translucent Perspex emphasized the layering effect that we wanted to achieve. As each layer stacked over the other, there is increased distortion blurring the wearer’s body. We found that Perspex while rigid, chipped and snapped very easily.

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M3 Fabrication

Design Testing Effects

with Elizabeth Seah

3.0 FABRICATION

Unique and unexpected effect- Despite the holes in the panels being initially designed for our rods, when overlaid in a non-parallel manner, created a very interesting moray effect that helps blur the wearer’s boundaries even more. It was dynamic as the moray effect changed depending on the angle. We didn’t explore this further but perhaps it is an idea for another day.

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Fabrication Reflection

Fabrication Ergonomics

Now that the basic prototype was completed, we turned our focus to optimizing and improving the design with ergonomics, effects and

Modern computing, digital design and fabrication has blurred the lines between design and production. Once used as an end product tool

fabrication in mind. We kept the core design, implementing layering with flat panels, and the curves in 2 axis idea where the curves are

to visualize a design, digital reproduction is in itself a generative medium with its own unique restraints and possibilities. (Iwamoto, 2009) It can

introduced from the arrayed midsections and the angle in which the panels are attached. With the implementation of holes in the panels,

streamline production by removing the middle man or intermediate steps. In this case it allows us to visualize our final product, but we could

we could now consider the material and length of the rods.

also implement or correct any design issues as a result of limitations in the construction tools and materials available to us.

Material- Our prototype was very heavy due to the use of Perspex as the primary material. Perspex was very brittle and snapped very easily

Rods- Not yet implemented in M2 design

Incorrect Panel lengths

Stability- Previous design had no bracing structure and was very unstable

Attachment- previous idea using Perspex rings failed as Perspex was too brittle to support the weight of the skin

Ergonomics- Previous design almost cylindrical, the mid-sections were sharp and angular. It did not correspond well to personal space

Joints- Each panel was glued in place

map

but was not stable and tended to slide out

Density- using 5mm diameter holes meant we needed to use too many rods, 10000 in total

Ergonomics- We modelled our skin to more closely reflect the personal space map, The most sensitive areas being the chest and torso area. The sharp edges were also softened to create an overall more pleasant shape. We tried to join the individual panels to create a coherent structure, however problems arose with the attachment of these panels to the vertical mid-sections. As the angles where the panels attach are not 90 degrees and the distances are not equal between mid-sections

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Fabrication Stability

Fabrication Rods and Optimal Density To further develop the overall shape and stability, inspiration was taken from Bernhard’s

In order to keep the structure lightweight, we decided to use plastic straws. We explored using different colored straws but realized that it

bubble. In our final design we implemented circular ribs that enclosed the body while

would detract from the semi-translucency that we were trying to achieve and prevent the use of any lighting effects. Another problem we

providing stability and a curve in the XY plane. In the vertical plane, a subtle curve was

faced was the fact that there were too many holes and it would be too time consuming to thread straws into every hole. To prevent straws

introduced into the vertical sections. Rather than using small separate panels, we decided

from sliding out, a piece of tape was stuck on one end.

to use large panels similar to the large planes of glass used in the precedent. As large panels were used, this allowed us to minimize the size of the vertical sections and "hide" them between the outer and inner panels.

A prototype was constructed to examine the optimal density that would still achieve the desired effect but still be cost and time effective. We finally decided on 7mm diameter straws spaced 14mm apart from the center of each hole. This Bubble - Bernhard Franken - 1999 - The bubble was created

reduced the density of straws by more than half.

using a drop simulation comptuer program and is one of the first structures in the world made from 100% digital methods from design to construction

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Fabrication Material development

Fabrication Further Inspiration

As the Perspex panels were too heavy, we moved towards using polypropylene. A lighter material that is still semi-translucent. We explored the properties of polypropylene and The Seed Cathedral- Thomas Heatherwick- 2010 - It is a structure

found that it was flexible and extremely difficult

constructed from 60,000 acrylic rods slotted into holes. Seeds were

to rip. It was also rigid enough that it could

housed at the end of these rods, an effort to save seeds from

maintain a specific shape. We decided to

around the world.

use a single continuous strip of polypropylene that bends around the frame similar to a skin and bone structure. This added extra stability and ease of construction. It also allowed us to conceal the frame structures. We decided on 0.6mm clear polypropylene and 2mm Perspex for the frame.

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More inspiration taken from the Seed Cathedral, a UK pavilion at Expo 2010.

Particularly the beautiful ethereal effect created from the 60,000 acrylic rods, reminding one of the seeds of a Dandelion plant. We aimed to replicate this effect using transparent straws if possible to create an impression of a soft barrier which blurs the outline of the body. This is an extension from our original inspiration of the pin-screen art toys.

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Fabrication Lighting Effects

Fabrication Lighting Effects

The lighting creates an interesting pixillated effect which gives the building a very high-tech and modern feel. A central intelligence of sorts, a core that thinks and is alive.

We wanted to create a similar effect behind our strawscreen and demonstrate that within the cocoon that we have created is a living, breathing person. To place emphasis on this, we decided to implement the lighting into a pair of gloves which the wearer could then wear and move around. Our gloves would be fitted with a switch, allowing the wearer to switch it on when she desired.

The Seed cathedral - Thomas Heatherwick - 2010

We decided on red LEDs as it was a color that represented what we were trying to convey with our second skin. Red is often associated with powerful emotions such as love, lust or anger. It is also the color of blood and is linked to an individual's life force. It energizes and is also a bold color instilling confidence. As the LEDs will be mounted on a pair of gloves, the additional movements possible complemented the red and would be striking among an otherwise white monotone second skin.

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Fabrication Design Optimization

Fabrication Final Digital Model

Joints- In order to create a stronger frame that could be assembled without the use of glue, we added finger joints at the intersections between the circular ribs and the vertical mid-sections Redundancy- The number of circular ribs was doubled, with an extra rib between the essential ribs. These ribs could be added or removed if the frame required more stability.

Attachment- Handles were added to two vertical-midsections in the front and two at the back of the frame to allow for carrying as well as a location to tie the carrying straps to. This was designed such that the straps would cross over each shoulder and balance the frame on the body.

Tabs and etching- Tabs were added to the modular panels so that they can be glued onto the frame. Etches were cut into the polypropylene so that the tabs and panels can be easily folded.

Labelling- Vertical sections, inner and outer sections were labelled accordingly for ease of assembly

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Fabrication Final Digital Model

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Fabrication Assembly Drawing

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Fabrication Fabrication sequence

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Fabrication Volumetric Straw-Screen

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Fabrication Volumetric Straw-Screen

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Fabrication Volumetric Straw-Screen

M4 Reflections 38

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Reflections

Reflections Questions posed earlier by Heath, Heath

revealing the designs hidden in plain sight.

steps. Rhino allowed us to visualise our final

-like the strap holder. We used transparent

effects that presented themselves that we

& Jensen (200)- Who is a designer, and

For example, visualising simple patterns that

model and tweak aspects of it without the

and semi- translucent straws which when

did not expect. A breakthrough discovery

what makes a good design? We find that

created complex designs in nature, which

constraints of the physical world. However,

combined created a screen that managed

in science often raises more questions than

these questions are not easily answered.

was something I never considered. At first

a model is only an abstraction of reality and

to completely obscure the wearer’s

answers, and I have found that this is also

A designer may also be an architect, an

my ideas revolved around simple barriers

is not 100% precise (Scheurer and Stehling,

body even if she is wearing a dark black.

true for Design. From the first prototype,

engineer or even an artist. A good design

that protected one’s personal space but

2011). While NURBS is a powerful tool that

It created an unexpected effect when

in which an interesting moray design was

may be one that is highly functional or

towards the end of M1 Ideation, I realised

can create complex shapes, it does not

viewed from close up. The red we used for

discovered, to the final end product, there is

practical, one that is aesthetically pleasing or

that simply blurring the outline of the body,

take into consideration material usage,

the lighting contrasted the opaque white

always something unexpected that could be

may even be completely abstract. To answer

obscuring the line of sight of the wearer or

geometries or manufacturing limitations.

which represented intimacy, danger and

further explored. I have found that no matter

these questions, we designed our own

even creating a dramatic and bold effect

We relied too heavily on creating a digital

confidence. As the lights moved within, it was

how well designed something is, it can

model from the ground up to understand the

designed to shock can drastically alter the

model, making it developable and solving

analogous to a cocoon protecting a living

always be improved, and that it is important

joys and frustrations of being a designer. In

wearer’s as well as the invader’s sense of

problems in Rhino that we neglected the

breathing organism.

to keep an eye open for the unexpected as

particular we utilised digital technologies to

personal space.

physical aspects and model making and this

Although our final product did not turn out

you will never know what you might find.

eventually create a physical model.

Digital tools such as Rhino and Grasshopper

is an area that we could have improved on.

as we wanted, there were many interesting

As a science student, I am generally used to

blur the line between the designer and

It was immensely satisfying to fabricate

coming up with logical solutions to tackle a

the maker. As Iwamoto (2009) describes,

our prototypes and final models and when

problem. And so it was a challenge to come

Digital design affords a hypothetically

everything is assembled perfectly. We did

up with second skin ideas that encompassed

seamless connection between design

encounter some issues with material choice,

the concept of personal space which

and making with computerized processes

the polypropylene was much too flexible for

could not be seen and varied between

streamlining production, blending upstream

the straws to slide perfectly. Perspex on the

individuals. It took some thinking out of the

and downstream processes, eliminating

frame, despite being reinforced was still too

box, and the lectures helped with that,

compartmentalisation and intermediate

brittle, especially at stress locations -cont.

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Appendix Credits Page Cover

Drawings 

Computation

Model Fabrication

Appendix Bibliography Model Assembly

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Heath, A., Heath, D., & Jensen, A. 2000, '300 years of industrial design : function, form, technique', New York : Watson-Guptill, 1700-2000 Pottmann, H., Asperl, A., Hofer, M. & Kilian, A. 2007, 'Surfaces that can be built from paper', Architectural Geometry, Bentley Institute Press, p534-561 Scheurer, F., & Stehling, H. 2011, 'Lost in Parameter Space?', IAD: Architectural Design, Wiley, 81 (4), July, pp. 70-79 Iwamoto, L. 2009, 'Digital fabrications: architectural and material techniques', New York : Princeton Architectural Press,

      Kevin Sek

Elizabeth Seah

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