DIGITAL DESIGN + FABRICATION SM1, 2017 ELEVATOR SHIELD Jesse Shen
833944 Joshua Batterham Russo Group 9
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Contents: 1.0 Ideation
1.1 Object 1.2 Object + System Analysis 1.2 Volume 1.3 Sketch design proposal
2.0 Design
2.1 Design development intro 2.2 Digitization + Design proposal v.1 2.3 Precedent research 2.4 Design proposal v.2 2.5 Prototype v.1+ Testing Effects
3.0 Fabrication
3.1 Fabrication intro 3.2 Design development & Fabrication of prototype v2 3.3 Final Prototype development + optimisation 3.4 Final Digital model 3.5 Fabrication sequence 3.6 Assembly Drawing 3.7 Completed 2nd Skin
4.0 Reflection 5.0 Appendix 5.1 Credit 5.2 Bibliography
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0.0 INTRODUCTION MATERIAL SYSTEM: Section & Profile OBJECT: Rocket Ship
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1.0 IDEATION 1.1 Object: 1.2 Object + System Analysis 1.2 Volume 1.3 Sketch design proposal
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1.1 OBJECT
Elevation
Section
Plan
1:1 Scale @A4 paper Scale 1:2 @ A4 Paper
355mm
355mm
170mm
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170mm
170mm
Step one: template
MEASURING AND DRAWING TECHNIQUE: Using a flat edge metal ruler where the measurements begin at the edge, I aligned the ruler to the rocket on a flat surface to measure the overall dimensions. Individual pieces were measure by removing the necessary piece before using the ruler to acquire the measurements. Step two: Leg assemblage
Step three: body assemblage
For a more accurate drawings, the rocket was assembled on Rhino 5. The top and front viewports where printed in scale. Curves were traced over with a fine liner over a light box.
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1.2 OBJECT + SYSTEM ANALYSIS
The rocket is essentially an assembly kit made up of multiple pieces. The sections are formed by vertical pieces, whereas the profile is formed by the horizontal pieces. Pieces connect through a deliberately cut notch in both connecting pieces. Similar to a puzzle piece but with one crucial difference. The notches on both pieces forces the pieces to connect perpendicular to each other. This allows an one dimensional piece to extrude into two dimensions.
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X
Y
However, the rocket is an extra dimension more complicated. By manipulating one of the pieces by bending it, one dimensional pieces can extend into the second dimension by itself. Working in conjunction with the notched connections, the third dimension is added. Thus defining the overall form of the rocket.
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1.3 VOLUME
Reconfigured Model: The aim of this model was to explore the angles of which the connections were made on. Previously on the rocket ship, the notches are design to connect at right angles. In this model, The central profile of the rocket was re-imagined to utilise 45-80 degree connections instead of the typical 90 degrees.
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This variation allows a greater expansion of the defined volume without using extra materials to increase the size of the components. Furthermore the flexibility of the notches allow for some flexibility and movement which can allow the system to bend and wobble.
Section and profile’s key element is that the pieces act as a boundary that defines the volume of the object. In the case of this model, changing the angles of the legs will increase or decrease the defined volume. Applied to the overall task, we can simplify the volume of an individual’s personal space by defining the boundaries through the section and profile material system.
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1.4 SKETCH DESIGN PROPOSAL
Exposed State
Concealment State
This design responds to the current user’s mood depending on the context of the situation.
The whip like design is capable of extending beyond the user’s own personal space into another’s.
When the plates are open, not only does it expose the user but also increases the volume and the user’s presence.
Can be used as a counter offensive measure to scare away predators.
When close, it reduces the overall volume and decreases presence. Can be slid closed when in fear. Its flexibility allows control over the form to suit different situations
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Designed as an extension of the body in addition to the skin, allowing the wearer to extend their personal space.
Front View
KEY DESIGN IDEAS EXPLORED: Expands to cover where more of the
Changing the rigid nature of section and profile into a dynamic one
neck is exposed
Ultimately changing the volume defined within the material system Top View
Flexibility of volume can allow different extra utility to be added or change volume according to the wearer’s interpretation of personal space Functions such as to project, extend, to hide and to perpetually protect
This design is concentrated around areas of the body which are vulnerable and or sensitive. More specifically the neck, where different people are sensitive to different levels of touch and therefore their response to being tickled. To make sure the neck is protected regardless of movement, extension to the defined space will change to 3D rotation at the base.
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2.0 DESIGN 2.1 Design development intro 2.2 Digitization + Design proposal v.1 2.3 Precedent research 2.4 Design proposal v.2 2.5 Prototype v.1+ Testing Effects GROUP: OLIVIA NEMTSAS JESSE SHEN MARTIN MIDDELMANN
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2.1 DESIGN DEVELOPMENT
The group consensus what to not carry over the key idea I had explored in M1 for the following Reasons: The key idea of allowing movement and floppiness relied on a beveled notch to maintain positioning. It was foreseen that it would be unwise to focus a lot of time fabricate beveled notches through the laser cutter. Furthermore, the laser cutter was only design to cut perpendicular to the sheet material. Without beveled notches, the movement of the notches wouldn’t be achieved. Elements that were carried over from M1 was derived from my other group members. Specifically a modular design intent.
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Personal; Space is often associated with the whole body, concentrated around the torso. However, our interest is in the relationship between personal space around the head and its impact on conversations.
Human beings engage in inter-personal dialogues countless times everyday. However, some individuals want to have both a proper dialogue and maintain their own train of thought. Levels of concentration and perception when interrupted can change depending on how far the invade may be to the individual as suggested by Sommer(1969, p. 36 )
This notion of personal space is very vulnerable to interruptions, especially from the sides and the back. This is particularly due to a combination of personal space not being as exaggerated at the back and sides; nor how simultaneously individuals can be absorbed in their train of thought and oblivious to their surroundings.
Thus our aim should be to address this often ignored notion of personal space in a manner in which in order to engage in a proper conversation to the individual, he/she must undergo the proper procedure to trigger such dialogue.
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2.2 DIGITISATION
Plan
Isometric Key elements of proposal: 1. Modules are used as building blocks 2. The Wearer builds a second skin according to his/her personal preferences as everyone interpretation of personal space is different 3. The crystal lattice like structure from the modules would create a sort of flexible defensive barrier
Elevation
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4. Modules would also come in a variety of densities which can be changed around where less density would represent more openness and visa versa.
2.3 PRECEDENT RESEARCH Birds Nest, Ai Wei Wei, 2008
DENSITY // SECTIONS // OPENINGS
Description of precedent The Overall Construction follows a similar material system to section and profile in which the outer shell is made of many developable curves intersect at different angles to form the profile. The density of the sections defines the building’s barrier, separating what’s outside from what’s inside. Furthermore there is a deliberate opening above to allow for natural sunlight to enter during the day, where as the exterior wont allow for as much light to penetrate through.
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2.4 DESIGN PROPOSAL V.2
Plan
Plan
Elevation
Isometric
Elevation
PROPOSAL 1
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PROPOSAL 2
KEY DESIGN ELEMENTS: Proposal one deciding on a particular form to address the new direction of the project. Creating a skin which blocks any sound interference from where the wearer doesn’t want to hear from. A focus on the general form. Proposal two was a refinement of proposal one 1. Simplified modular components to better exaggerate the density and avoid too much clutter regardless of whether we wanted to apply it or not. 2. Overall change in form due to a change in response to personal space. 3. Testing of potential application of paneling tools in applying the modules to the form 4. We could abstract undevelopable surfaces into developable modules that would connect at different angles.
Isometric
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2.5 PROTOTYPE V.1 + TESTING EFFECTS
Top
DESIRED EFFECTS KEY POINTS Person Space interpretation, to maintain a proper one to one conversation, without the need to worry about any interference by: 1. Blocking sound and visibility of the wearer’s head from the sides and behind. 2. Redirecting outsiders to view the person from the front and line up in front of the person if the wearer is already engaged in a conversation
Laser cutting Template
Elevation (Front)
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Isometric
Whilst we had ambitions to utilise modules to help abstract undevelopable surfaces into a sequence of developable surfaces, ultimately it proved to be unfeasible. The numerous amount of modules actually increased the complexity of the whole composition with different angles of connection.
Elevation (Side)
Whereas in M1 we reduced the material system into a series of pieces which extended into all three dimension.
Drawing from this understanding we thought of modular design which could form both sections or profiles. However the modular designs had numerous pieces which in itself required further abstraction which lead to a prototype which fused groups of circular modules into one. M2 was more about abstracting and simplifying that ambitious ideas to perceive easy to fabricate response to the task as suggested by Scheurer(p. 72, 2011)
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3.0 FABRICATION 3.1 Fabrication intro 3.2 Design development & Fabrication of prototype v2 3.3 Final Prototype development + optimisation 3.4 Final Digital model 3.5 Fabrication sequence 3.6 Assembly Drawing 3.7 Completed 2nd Skin NEW GROUP: JESSE SHEN GRANT LI JUN MING TING
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3.1 FABRICATION INTRO M2 REVIEW: Digital design process posed new problems in realising design ideas we wanted. Modular design were ultimately unfeasible when trying to translate the ideas into a buildable design. Ultimately we were forced to abandon modular designs and consolidate the modules into section and profile pieces. Furthermore we immediately came to the conclusion that for the second skin to achieve any of the desired effects, we can’t design or fabricate it orthogonally with parallel pieces. Visual effects can be better achieve if we delve into exploiting other angles besides 90 and 45 degrees and parallel pieces. M3 also presents a new challenge as I have been transferred to a different group with a different project direction to mine despite some similarities in material systems and procedures. Both projects at a glance have issues regarding the visual effects because of the roughly parallel arrangement of the pieces. Concepts to test: Variable or contrasting bending, twisting, angular notches, and possibly tapering Aim, to discover how much visibility can be block by manipulating perspective distortion.
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Parallel
Tapered
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READING RESPONSE Wk 6 Architecture in the Digital Age - Design + Manufacturing/ Branko Kolarevic, Spon Press, London c2003
FABRICATION PROCESSES: Subtractive: Cutting/carving volumes out of an even large volume(CNC Milling and laser cutting) Formative: Changing the material’s shape without removing or adding any volume (Pressing and hot rolling) Processes used in designs: Plasma Arc Cutter Germany 2000 (Kolarevic, 2003)
1. Subtractive process, cutting out all components for the sections and profile from a sheet of material through a laser cutter 2. Formative process, bending and/or twisting materials by hand. The importance of this fabrication methods is the creating of any interesting visual effect by modifying a 2D to extend into three dimensions.
Various states created through formative methods (None,Bend,Twist, combination)
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READING APPLIED TO DESIGN
Our subtractive fabrication process forces us to incorporate methods of adding a third dimension to the largely 2D manner in which the laser cutter works.
CNC milling was considered to manipulate notched connections for allow for pieces to connect in an angle rather than perpendicularly. However CNC millers are also unable to carve undercuts into the material. Top: Laser cutters only cut perpendicularly, therefore these notches are unfeasible
Thus an alternative solution was to extend and widen the notches to allow for angular pieces to fit within.
Bottom: Extending the notch through subtraction will allow for such angular connections
Formative fabrication process isn’t as capable of creating a structure and there is a risk of the material wanting to return to its natural shape. However there is the potential to create more interesting visual patterns from formative procedures in changing the directions different surfaces face.
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READING RESPONSE Wk 7
Digital Fabrications: architectural + material techniques/Lisa Iwamoto. New York: Princeton Architectural Press c2009
Digital technology is ultimately responsible for shortening the gap between design and fabrication. In contrast to past design to fabrication procedure when there is a significant divide between aesthetics and construction, the number of intermediate steps between the two stages have ultimately diminished(Iwanmoto, 2009). Thus leading to a rise in popularity of design focusing not only on aesthetics but in fabrication methods. With this focus, designing with digital software and technology allows architects to design and bend fabrication methods to their will rather than be in its mercy. Such strides have allowed for designers to develop and complicate their designs to new limits. Assemblying the Mafoonbey contour by contour, (Iwanmoto, 2009)
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READING APPLIED TO DESIGN
Digital fabrication has the capacity to quickly generate contours of the design. Such efficiency allows designers to easily generate designs in which the fabrication methods are not just a procedure to go from a kit to an object, but to transform it into a key aesthetic feature. In relation to our designs, sectioning remains a critical component of our skin’s aesthetics. The flat pieces in the digital medium(Rhino 5) in which our design comprises of can quickly be translated into 2D planar geometries by using the make 2D command. The geometries are then programed into the laser cutter for and cut out sheets(subtractive fabrication method).
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3.2 DESIGN DEVELOPMENT & FABRICATION OF PROTOTYPE V.2
Test 1: Staggered and Varying Angled Screens
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Test 2: Twisting and Bending
Test 3: Dense and Varying Twisting
PRE PROTOTYPE TESTING Aim: to explore and test different visual effects from different methods of manipulating developable surfaces. Test 1: Staggering the modular screens ultimately created an seemingly unnatural visual effect. The smooth variation of the angular screens where diminished by the disjunction of the central column, variation also brought diminishing returns in regards to the visual effects produced. Test 2: The testing proved the feasibility of fabrication of bent and twisted pieces of the sheet materials we were using. Furthermore the testing showed promise on the variation of visibility demonstrated by the twisted piece, Test 3: brought up the concern of relying on a single material for the prototyping. Ultimately lead us in the direction to fabricated the second skin with dual materials to exploit the key strengths of the materials where needed.
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ISOMETRIC
ELEVATIONS
PLAN
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Learning from the mistakes made in the prototype development, the MDF would be delegated to rigid structural elements. Any material distortion would be delegated to polypropylene due to its greater flexibility. The aim was to allow for the structural elements to act as a stiff frame for the visual elements, taking elements from the best of both worlds and to also test the colour contrast of using white and brown. The scorched edges of the MDF resulted in an even greater contrast between the two materials even more apparent. However even more structural elements are necessary as the polypropylene has contrasting structural elements highlighted by the floppiness of the piece
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EXTRA NOTE: Limited dimensions of materials. Split vertical pieces into two. Connected at the arches which slot into each other. Resulted in a very obvious and visually unclean design.
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3.4 DESIGN DEVELOPMENT & FABRICATION OF FINAL PROTOTYPE
Isometric
Final Prototype
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Plan
Elevation
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Laser Cutting Template
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Externally sourced Polypropylene acquired with larger dimensions Resulted in a more fluid sections comprising of single unbroken sections
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Structurally this prototype still wasn’t rigid and capable of bearing the necessary load Due to uneven distribution of load across the frame, particularly concentrating on the center MDF as a single piece isn’t structural and requires a thickness of at least 9mm to carry the load needed Alternatives include Perspex as whilst brittle is structurally more efficient The pieces must be planar to avoid any failure
Further material considerations were discovered Some of the notches were not done properly which made some of the pieces longer than actually needed. Thus when connected, the pieces would bend even more because they were in compression rather than in tension. This would ultimately loosen the connections as flexible material has a tendency of maximising friction when in tension. This however created some interesting material effects which we could incorporate.
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3.4 FINAL DIGITAL MODEL
Twisting obscures face, protecting privacy
Twisting to create varied visibility
Predominantly right side, as the wearer is in an elevator corner
Clear perspex gives more importance to the polypropylene strips which create the most interesting effect
Polypropylene used for flexibility and opaque qualities Bottom ends tapered to allow more views in
For this iteration, the main barrier has shifted back to one side to communicate the idea of being in a corner, where two sides are the elevator walls are essentially barriers.
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Left side has a clear Perspex barrier to protect close space
PLAN
ELEVATION
ISOMETRIC
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3.5 FABRICATION SEQUENCE
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1. Gluing the double layered polypropylene pieces together. 2-7. Assembling the frame pieces together from top to bottom, gluing in the notches
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8-10. Attaching the Polypropylene pieces to the frame, gluing only three of the four joints.
3.6 ASSEMBLY DRAWING
Rigid vertical pieces are placed on the inside of the circular pieces
The pieced are notched in to their specific slots and secured
Polypropylene pieces are placed on the outside of the circular pieces
Each polypropylene section piece is split into four pieces with staggered cuts
Polypropylene pieces are not notched so that their continuous shape is not disrupted. They are aligned with the notched in the Perspex frame and secured by glue.
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3.7 COMPLETED SECOND SKIN
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4.0 REFLECTION Subject Aim: Explore the relationships between materials and technology and their implementation in both design and fabrication My interest in this subject was initially a desire to learn the tools and skills to efficiently compliment and refine my designs. What I ultimately took out of this subject was more than just a set of new skills and tools readily available at my fingertips. What I concluded with in this subject was developing not just an understanding of the relationship asked by the subject but also developing my character. As of this stage, the greatest challenge I faced in this subject was in descending order, project planning, work intensity/frequency, group teamwork and digital fabrication. In the past, it became obvious that a large project such as this one would only be as successful as the planning behind it. The work behind each module is critical, however planning is crucial to the distribution of work and effort. Best demonstrated in module three in which the group was slow in the weeks prior to the presentation, then instantly changed to high gear in stressfully producing testing and prototypes in the presentation week. The sheer intensity and frequency of generating, developing and refining designs would have been eased out if there was optimized planning prepared in advance out ahead. This issue would only be complicated by group work, adding more complicated variables to factor in. Even more complicated was the unfortunate circumstances in which I was transferred into another group due to members dropping out. Ultimately requiring me to adapt to two different design directions and lines of thinking.
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Digital fabrication brought about the challenge of adding another factor to consider, the practicality of fabricating the idea from the digitization to the physical. Key considerations would appear one by one after each test. Ease of assembly, internal tension of twisted/bent pieces, sufficient notch thicknesses, warping of the sheets due to careless handling etc. Whilst the gap between fabrication and digital design was streamlined, more responsibilities for the designer were introduced as suggested in Bernstein’s Building the future. What went well for the final product was how distinct its appearance was to its originally intended purpose, emphasized by the density of the section pieces. In contrast the failure was that the clear distinction between the two sets of pieces still creates an unnatural design, which could possibly be remedied by join the pieces more fluidly to create the illusion of a single piece. No longer could we just simply design, but a thought over whether the pieces would actually assemble as intended(which often didn’t happen, particularly in the M2 prototype) would remain prevalent along the subject. The culmination of Fabrication and design translates into the design being the representation of our fabrication method. Where the abstract and the craft would be fused into one. The final design itself has very distinct characteristics for each piece, each with its own program and each with its own distinct and visible construction process. The greatest risk was to detract from an ambitious modular design with customisability which could eliminate replacement risks, and work back into a system in which we could not reduce the complexity without redesigning the whole composition. The future holds the potential for D.I.Y CNC and CAD based distributed manufacturing and distribution for future designers as suggested by Rikin. The direction of future design may flow down a different path however. A path in which there may be no clear distinction between design and fabrication like the one I took.
5.0 APPENDIX 5.1 CREDITS CREDITS Page Cover 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50
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Jesse Shen Grant Li Jun Ming Ting Olivia Nemtsas Martin Middelmann
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5.2 BIBLIOGRAPHY: Hatter, Luton. “The Beijing National Stadium�. Pinterest. N.p., 2017. Web. 4 Apr. 2017. Sommer, R. (1969). Personal space : the behavioral basis of design. Englewood Cliffs, N.J. : Prentice-Hall, Print Scheurer, F. and Stehling, H. _2011_: Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 _4_, July, Print, p. 70-79 H.Pottmann,A.Asperl,M.Hofer, A.Kilian (eds), 2007, Surfaces that can be built from paper / In Architectural Geometry, p534-561, Bentley Institute Press, Print Kolarevic, Branko. 2003. Architecture in the Digital Age - Design and Manufacturing. Spon Press, London, Print Iwamoto, Lisa. 2013. Digital Fabrications. 1st ed. New York, NY: Princeton Architectural Press, Print. Philip Bernstein. 2008. Building the Future: Recasting Labor in Architecture, Peggy Deamer. Princeton Architectural Press. p. 38-42 Rifkin, Jeremy. 2011. The third Industrial Revolution . Palgrave Macmillan, Basisngstoke .pp107-126
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