DIGITAL DESIGN + FABRICATION SM1, 2016 Skin and Bone Teal Breez Marshall 758512 Lyle Talbolt Studio:8
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CONTENTS 1.0 Ideation 1.1 Object 1.2 Analysis and Measured drawings 1.3 Sketch design proposal 2.0 Design 2.1 Design development introduction 2.2 Precedent research 2.4 Design proposal and Reflection 3.0 Fabrication 3.1 Fabrication introduction 3.2 Prototype 3.3 Design Optimisation 3.4 Final Fabrication 4.0 Reflection 4.1 Design Reflection 4.2 Course Reflection 5.0 Appendix 5.1 Credit 5.2 Bibliography
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0.0 Introduction My chosen construction system is Skin and Bone with the study object of an Umbrella. The umbrella utilises a highly dynamic system which relies on rotation, axial movement and both compression and tension. The bones experience forces (either compression or tension) in a single direction, while the skin experiences multidirectional tension. Pivot points allow the bones to move in a single direction and are limited in axial movement by the encompassing skin. Both skin and bone are integral to the system and it cannot operate in the absence of one of the elements. While the bones create the volume it’s actually the skin which articulates it. In addressing the concepts of volumes, personal space, sleeping and wearability both the skin and bones will have to function in multiple roles.
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1.0 IDEATION
INDIVIDUAL EXPLORATIONS
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UMBRELLA
1.1 OBJECT
RECONFIGURED OBJECT
RHINO MODEL 9
PLAN
ELEVATION
SINGLE ELEMENT 1.2 ANALYSIS AND MEASURED DRAWINGS The umbrella had to be fully deconstructed to accurately measure and analyse. By separating each of the elements the importance of a single unit could be fully understood. The dichotomy of the rigidity of the bones and the plasticity of the skin allowed me to understand the important interactions between the two systems and the significance of tension and compression working together. Measurements were only necessary to construct the digital rhino model (refer to previous page), yet the analysis of the interaction of bones and skin will become crucial to the design of the sleeping pod. 10
1.3 SKETCH DESIGNS DESIGN 1 Something like a rigid sleeping bag/swag that provides a personal space.
DESIGN 2 Exploring a child’s sense of security.
DESIGN 3 Mimicking the humans bodies’ skin and bones.
CONCERTINA
TENT SYSTEM
SECOND SPINE / SHELL 11
2.0 DESIGN
INVERSIONS, CONTORTIONS AND TRANSFORMATIONS
GROUP MEMBERS: SHENGAN ZHENG ALTHEA DE LAS ALSAS 12
2.1 DEVELOPMENT INTRODUCTION COLLABORATING THE INDIVIDUAL EXPLORATIONS OF MODULE 1 IDEAS
FEEDBACK
PROGRESSION
A skin which is both supportive and comfortable
A non-continuous skin
Maximising the delicacy of the design
A reversal of the bone-compression and skin-tension relationship
A non-continuous skin
And inversion of the skin and bone layout
Synthesising decorative and functional aspects
A skin that could move from the interior to the exterior
Synthesising the screening and supporting functions of the skin
A skin that can be used as a screen to provide personal space for the occupant An interesting and aesthetically pleasing bone system
PERSPECTIVE
PERSPECTIVE
SKETCH DESIGN
A wearable and durable design that is lightweight
Platform frame -Kefaru Internation. unknown date
We would use the subtractive fabrication technique (Kolarevic 2003) utilis- BONE PRECEDENT ing the laser cutter A backpack was used as a precedent as ELEVATION it is highly ergonomic and aligns most of the design towards the posterior of the body. MATERIALITY MDF was chosen for the bones as it enabled us to utilise the precision of a laser cutter and allowed seamless flow from CAD to CAM (Scheurer and Stehling 2011). It’s also a light weight material that is rigid. 13
SKIN PRECEDENT
ELEVATION
“11:11� -Winde Rienstra. date unknown
2.2 PRECEDENT STUDY The skin precedent perfectly aligned with our desire to achieve a highly delicate non-continuous skin. The opportunity to create interlocking and overlapping planes increased the complexity of the weave in a visually pleasing way but also enabled us to generate comfortable curves out of a series of planar weaves. MATERIALITY PLAN ELEVATION
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A combination of elastic cord and spandex meshed material was used to increase the density of the skin system.
PERSPECTIVE
2.3 DESIGN PROPOSAL AND REFLECTION MDF was a great material choice as it has a small amount of flex allowing it to be roughly handled and even ‘jostled’ in a public space, while still maintaining the rigid form of the skeleton. A substantial amount of glue was used to stabilise this model. In the future model we aimed to use a minimal amount of adhesive. The design created a large voluminous area that would define the user’s personal space in an artistic way (Sommer 1969). 15
3.0 FABRICATION
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3.1 FABRICATION INTRODUCTION
THE NEW DESIGN
PERSPECTIVE
PLAN OF PLANAR BONES MEETING AT RIGHT ANGLES
A DESIGN THAT CAN LEAN AGAINST A WALL
OUR IDEAS
FEEDBACK
PROGRESSION
Must alter the design so that all the bones are planar to allow for a fabrication process that takes advantage of planar sheets of MDF and the laser cutter.
Good abstraction of the backpack precedent.
Moving towards a greater complexity of bones that will allow for a greater intricacy in the weave pattern.
We are considering a material change that will increase the delicate aesthetics of the design.
Use only the string; no material. To create the density, simply increase the weave. Create a systematic and effective joinery system. Integrate a complex holes layout that will facilitate an interesting weave.
A drastic design change was made to increase the structural integrity of the design and to make the bones more delicate and protective in appearance. The change also enabled us to move to an assymetircal design, allowing us to make each bone unique, solidifing the concept of ‘mass customisation’ (Marble 2008). The change was ratified by the waffle grid system (Marble 2008) as this is a highly effective construction system. OPTIMISATION OF NEW DESIGN
Altering the design so that all bones connect at right angles thus making the surface developable (Asperl et al, 2007) and integrating a notching system to connect them. Further abstraction of the backpack. 17
3.2 PROTOTYPE 1 TESTING THE EFFECTS AND TROUBLE SHOOTING CONSTRUCTION ISSUES. As none of us had much experience in digital design and fabrication we did a basic test print to fully understand our design and its limitations. Structural issues and design faults were then identified and the weave could be properly tested. Everything that was learned was then considered carefully during the prototype optimisation stage. A substantial amount of glue was used to stabilise this model, yet this was pre-empted as the purpose of this model did not include aesthetic qualities.
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3.3 DESIGN OPTIMISATION
CONNECTION JOINTS
PROTOTYPE OPTIMIZATION
CONECTIONS
NOTCH SYSTEM GRASSHOPPER PERSPECTIVE
WEAVE DESIGN
A neat a seamless connection system was devised with the assistance of the tutor. This was necessary as single bone could not be cut in one piece due to the limitations of the laser cutter. This connection system made the sectioning of the bones less obvious and assisted in making all the bones appear as a single integrated system. Notches were adjusted to ensure the tight seamless fit. Using GrassHopper, Daisy was able to map out the weave design in three dimensions creating a blueprint that allowed the entire group to easily understand the pattern so that we could all work on it at once, as this was the most time consuming aspect of our design.
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3.4 FABRICATION AND REFLECTIONS Despite our best effort a small amount of glue was still used to adhere the two sections of each bone together and to stabilise certain notches. Each bone was initially assembled separately and them combined. For the final print the materiality of the bones was changed to transparent Perspex to highlight the visual effect of the black weave. This led to unforeseen issues as the Perspex had different structural properties to the MDF. In particular it had no flexibility and instead it was quite brittle. Before we could even complete the fabrication of the model we snapped several bones due to over-tensioning of the string and simple human errors. In the end, despite the beauty of the transparent bone system, our design was highly compromised by the breakages and the subsequent amount of glue used to repair it. The fragility of the Perspex also compromised the level of density that we had wished to achieve in the weave. 20
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4.0 REFLECTION
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4.1 DESIGN REFLECTIONS At the conclusion of Module 3 we decided to rebuild our model. This was mainly due to the fact that because of the weakness of the Perspex and the breakages, not only was our model untidy and poorly crafted but we were not able to fully articulate the complexity and density of the weave that we had designed in Grasshopper. Considering that we would lose the beauty of the transparency we returned to using MDF but with a high-gloss black finish so that the bones wold appear as a single entity.
Through further research and personal connections of Daisy, we were able to get our bones cut as a single piece with the increased thickness of 6mm. This resulted in a bone system that was very neat and had a delicate appearance, while also being very rigid and robust. To our great satisfaction, this meant that we had succeeded in the fabrication goals that we had set ourselves, particularly, the accuracy our notch system meaning that we did not have to use any adhesive. Not only were we able to achieve an accurate model but we were also able to fabricate it with a high level of accuracy and precision. The improved bone system also meant that we were able to fully articulate our skin which was the main essence of the design. The progression from module 3 to module 4 for showed an increase in weave density, complexity and delicacy.
Our group worked well together particularly in recognising one another’s strengths in either the digital or physical realms. Skills were shared and improved collectively and the quality of our model justly represents the quality of our group work.
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4.2 COURSE REFLECTIONS The speed at which we progressed in this course was at first quite startling yet upon reflection I have never learnt so many skills so quickly. Not only have I become far more comfortable with digital design but also I am now familiar with the FABLAB and the laser cutter, skills that I am already now applying to my other studios. The hardest aspect of this course was the reliance on group work. In this instance, I was very lucky but I know of many horror stories. This course was incredibly intellectually stimulation and challenging and I have learnt a colossal amount and have an increased appreciation for digital design and fabrication. Thank you
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5.0 APPENDIX Asperl et al, 2007,Surfaces that can be built from paper / In H.Pottmann, A.Asperl,M.Hofer, A.Kilian (eds) Architectural Geometry, p534‐561, Bentley Institute Press Kifaru international. Unknown date. Hunting platform frame and suspension, viewed 6th April 2016 < https:// store.kifaru.net/hunting-platform-frame-and-suspension-p192.aspx> Kolarevic, B 2003, Architecture in the Digital Age ‐ Design and Manufacturing / Branko Kolarevic. Spon Press, London Marble, S, 2008. Building the Future: Recasting Labor in Architecture/ Philip Bernstein, Peggy Deamer. Princeton Architectural Press. pp 38‐42 Rienstra, W, unknown date. “11:11” Collection, viewed April 2016 < http://trendvisions.lancia.it/en/article/ winde-rienstra-s-11-11-collection> Scheurer, F. and Stehling, H. 2011: Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 _4_, July, pp. 70‐79 Sommer, R. 1969. Personal space: the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J.: Prentice‐Hall, c1969.A
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Teal Breez Marshall Shenrgan Zheng Althea De Las Alas
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