DIGITAL DESIGN + FABRICATION SM1, 2015 M4- Reflections: Volumetric Straw -Screen Kevin Sek and Elizabeth Seah 638985 & 699633 Michele James
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Introduction: We set out with the goal of a protective skin that encapsulates the wearer, providing an inpenetrable barrier for sensitive regions while also blurring the boundaries of the body and changing the outside perception of the internal personal space. Our final design not only incoporates these ideas but also brings to life through lighting effects the concept of a living, breathing cocoon that is dynamic and speaks to the wearer in the form of tactile feedback.
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Contents 1.0 IDEATION
Section and Profile
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3.0 Fabrication Reflection
8 Measured drawings
Digital Replica
Exploration of Material system
Reconfigured objects
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Ergonomics
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Stability
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Rods and optimal density
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Material development
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Furthur Inspiration
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2.0 Design Diffusion and Distortion
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Lighting Effects
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Context and considerations
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Design Optimization
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Proposal V.1
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Final Digital Model
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Digital Design and its restrictions
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Assembly Drawing
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Precedent
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Fabrication Sequence
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Proposal V.2
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Volumetric Straw Screen
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Prototype
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Testing Effects
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4.0 Reflections 5.0 Appendix Credits
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Bibliography
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M1 Ideation
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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 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.
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Ideation Digital replica
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 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 of the wires without inhibition through the egg.
θ =180 °
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Ideation Reconfigured Objects
Reconfigured object utilizing ideas from the egg cutter, specifically the cutter 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.
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Ideation Reconfigured Objects
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.
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2.0 DESIGN Elizabeth Seah
M2 Design
with Elizabeth Seah
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Design Diffusion and Distortion 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 design strategy. This strategy consists of identifying context, constraints and opportunities. The context is the main driving focus of the project and the human torso
design
reason for the design. Constraints and opportunities in this case would pertain to the possibilities of digital design and its limitations, complex geometries and how to resolve it into the material world.
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Design Context and Considerations
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. Key aspects -
Layering of flat translucent sheets that blurs the boundaries of the human body while
also acting as a barrier -
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 -
Rings that span the body and provides the basic structure for mounting the panels
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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
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Design Proposal V.1
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 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 While our proposal was developable, we would have to cut many panels and find a method to attach each panels to the exact 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 would require large sheets of relatively flexible material. While polypropylene is an option, the fablab did not have sheets that were large enough to accomodate our current design. Top Down, Bottom up approach In our design workshops, we used simple objects and created complex objects simply by applying a pattern. While it is important to remember that everything placed on paper is important, we recalled that design is not a linear process. In our proposal we were 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 back to the drawing board.
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Design Precedent
Structure- The swoosh pavilion located in London's Bedford incorporated aspects that are applicable to our design. It consists of a fluid spiral created by a series of interlocking flat panels. Curves in two axis were achieved from panels that were attached at an angle to the rib-like sections which were also angled. Simplicity- Based on Scheurer and Stehling H (2011), design is a process of communication in which an Idea needs to be conveyed appropriately to the builders in order to achieve a desired final product and therefore focus should be shifted away from the final product 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
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
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
Improvements: 1)
A dramatically simplified design
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2 basic shapes (solved manufacturing and material problems)
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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
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Unexpected effect
6)
Devised a way to attach to the body
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Design Prototype
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Design Testing Effects
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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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.
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Design Testing Effects
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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M3 Fabrication with Elizabeth Seah
3.0 FABRICATION
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Fabrication Reflection Now that the basic prototype was completed, we turned our focus to optimizing and improving the design with ergonomics, effects and fabrication in mind. We kept the core design, implementing layering with flat panels, and the curves in 2 axis idea where the curves are introduced from the arrayed midsections and the angle in which the panels are attached. With the implementation of holes in the panels, we could now consider the material and length of the rods.
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
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
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Fabrication Ergonomics Modern computing, digital design and fabrication has blurred the lines between design and production. Once used as an end product tool to visualize a design, digital reproduction is in itself a generative medium with its own unique restraints and possibilities. (Iwamoto, 2009) It can streamline production by removing the middle man or intermediate steps. In this case it allows us to visualize our final product, but we could also implement or correct any design issues as a result of limitations in the construction tools and materials available to us.
Incorrect Panel lengths
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 To further develop the overall shape and stability, inspiration was taken from Bernhard’s bubble. In our final design we implemented circular ribs that enclosed the body while providing stability and a curve in the XY plane. In the vertical plane, a subtle curve was introduced into the vertical sections. Rather than using small separate panels, we decided 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.
Bubble - Bernhard Franken - 1999 - The bubble was created 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 Rods and Optimal Density In order to keep the structure lightweight, we decided to use plastic straws. We explored using different colored straws but realized that it would detract from the semi-translucency that we were trying to achieve and prevent the use of any lighting effects. Another problem we 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 from sliding out, a piece of tape was stuck on one end.
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 reduced the density of straws by more than half.
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Fabrication Material development
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 found that it was flexible and extremely difficult to rip. It was also rigid enough that it could maintain a specific shape. We decided to 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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Fabrication Further Inspiration
The Seed Cathedral- Thomas Heatherwick- 2010 - It is a structure constructed from 60,000 acrylic rods slotted into holes. Seeds were housed at the end of these rods, an effort to save seeds from around the world.
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 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 Lighting Effects
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Fabrication Design Optimization 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 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
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M4 Reflections 43
Reflections Questions posed earlier by Heath, Heath
revealing the designs hidden in plain sight.
steps. Rhino allowed us to visualise our final
& Jensen (200)- Who is a designer, and
For example, visualising simple patterns that
model and tweak aspects of it without the
what makes a good design? We find that
created complex designs in nature, which
constraints of the physical world. However,
these questions are not easily answered.
was something I never considered. At first
a model is only an abstraction of reality and
A designer may also be an architect, an
my ideas revolved around simple barriers
is not 100% precise (Scheurer and Stehling,
engineer or even an artist. A good design
that protected one’s personal space but
2011). While NURBS is a powerful tool that
may be one that is highly functional or
towards the end of M1 Ideation, I realised
can create complex shapes, it does not
practical, one that is aesthetically pleasing or
that simply blurring the outline of the body,
take into consideration material usage,
may even be completely abstract. To answer
obscuring the line of sight of the wearer or
geometries or manufacturing limitations.
these questions, we designed our own
even creating a dramatic and bold effect
We relied too heavily on creating a digital
model from the ground up to understand the
designed to shock can drastically alter the
model, making it developable and solving
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
particular we utilised digital technologies to
personal space.
physical aspects and model making and this
eventually create a physical model.
Digital tools such as Rhino and Grasshopper
is an area that we could have improved on.
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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Reflections -like the strap holder. We used transparent
effects that presented themselves that we
and semi- translucent straws which when
did not expect. A breakthrough discovery
combined created a screen that managed
in science often raises more questions than
to completely obscure the wearer’s
answers, and I have found that this is also
body even if she is wearing a dark black.
true for Design. From the first prototype,
It created an unexpected effect when
in which an interesting moray design was
viewed from close up. The red we used for
discovered, to the final end product, there is
the lighting contrasted the opaque white
always something unexpected that could be
which represented intimacy, danger and
further explored. I have found that no matter
confidence. As the lights moved within, it was
how well designed something is, it can
analogous to a cocoon protecting a living
always be improved, and that it is important
breathing organism.
to keep an eye open for the unexpected as
Although our final product did not turn out
you will never know what you might find.
as we wanted, there were many interesting
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Appendix Credits Page Cover
Drawings
Computation
Model Fabrication
Model Assembly
Photography
Writing
Graphic Design
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8 9 10
11 12
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Model Fabrication
Model Assembly
Photography
Writing
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Graphic Design
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Computation
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Drawings
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Kevin Sek
Elizabeth Seah
Appendix Bibliography 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,
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