DIGITAL DESIGN + FABRICATION SM1, 2016 M3 JOURNAL
KARINA LAI 834743
SHENGJIE WU 813055
ZHENG Wu 846736 Sia + Seminar 3
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I N T R O D U C T I ON 1.0 After our feedback from M2, we have decided to not continue to develop the previous proposed design from M2. However, instead develop from two of the prototypes made from M2. The reason being is the proposed design didn’t accurately addressed the concept of personal space; as the user wearing the second skin had little control over the movement of the second skin. We had realised the reason behind this, was because the second skin was only attached to the user’s body via the arms. Futher , the shape of the proposed second skin didn’t serve the purpose we had intended it to serve (being able to control its flexibility, having different functions based on the part of the body and also having the ability to involve another person). Two prototypes from M2 to be developed The reason for choosing these two prototypes were because its ability to converted to a three dimensional shape from a two dimensional shape. Its ability to be changed fits in to our concept of personal space being flexible and altered when needed. Prototype 1.1 uses the mechanism of pulling a string to allow variation, whereas prototype 1.2 requires a twisting motion for it to become a 3 dimesional shape.
Prototype 1.1
One of the advantages of prototype 1.2 is it allows transparency through its composition. An advantage of prototype 1.1, its ability to be have volume through a pulling a string; which is user friendly to the person wearing the second skin. Further, it also allows the user to have control over its movement. Hence, we have decided to combine these two prototype in order to develop our idea.
Prototype 1.2
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I N T R O D U C T I O N 1.1
We have found after analysing personal space that different area of the body needs to be addressed differently, as some areas require more/ less personal space and the second skin may serve different functions according to the body area. Although, we propose to have different variations throughout the body, we intend to use a universal folding system with slight variation to address different areas of the body.
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DESIGN DEVELOPMENT
Our group decided to integrate the idea of ‘popping out strips occupy a spectrum of volumes’ into the idea of ‘a system of modular panels flexibly define a space’, as modular panels are the best to definitely indicate and to stably construct around the personal space, while popping-out strips can contribute dimentional flexibility and specialised transprency with niche patterns to the modular panels as much as desired by different part of the personal space.
Basaed on the integrated design, we decided the shape of the modular panels should be hexagons in different sizes, We agreed to use smaller hexagonal panels in the lower part of the final design, and gradually increased sizes for the hexagonal panels in the upper parts. Moreover, we decided to assign less popping out patterns to the lower hexagonal panels and make them impremeable, while the upper panels should perform with more popping out patterns to gain adequately desired transparency and ample flexibility, especially before the face area. In terms of the overall composition of the second skin, we decided it to be asymmetrical and balanced, for example, the shoulders & neck space would be partially covered by the modular panels.
D E S I G N D E V E L O P M E N T 1.0 / fabrication of Prototype Instead of using white cotton strings to connect modular panels for flexible performance, we chose contineous linear etching lines to connect most of the panels which are supposed to display solidity and to achieve greater control of their form, while the rest of the panels are connected by short etching connections to create some gaps and therefore transparency at the two sides of the connections.
In order to achieve the effect of ‘popping out’ on modular panels, we discovered the method by which we use a transparent nylon fishing string to connect certain holes on a cut pattern of strips on a modular panel. Hence, we have gained control over the extent of popping out of the strips by pulling the string behind the panel, and by doing so, the cut pattern of strips can dramatically transit from a flat surface to a visually complex popping-out structre. We chose the transparent nylon fishing string for aesthetic reason and strength in tension.
We chose paper board of 1 mm thickness as the material for the fabrication of Prototype V.2, because it is light, flexible without compromising holding strength, contrasted to the looseness and excessive flexibility of poplyropylene.
D E S I G N D E V E L O P M E N T 1.1 / digital model
PLAN
ELEVATION
PERSPECTIVE
D E S I G N D E V E L O P M E N T 1.1 / prototype detail
Perspective Viiew
Viewing Outside
Viewing Inside
R E A D I N G R E S P O N S E - WK 6 Architecture in the Digital Age - Design + Manufacturing/ Branko Kolarevic, Spon Press, London c2003
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Briefly outline the various digital fabrication processes. Explain how you use digital fabrication in your design?
Three-dimensional Scanning -- From Physical to Digital: In some cases, an easier way for idea demonstration for architects is the direct designing of a physical model rather than a 2D digital model, so three-dimensional scanning is used here. In this way, the digital technologies are used as an interpreting medium which can translate a physical concept into “digitallyencoded control information” and then these information can be used into standard mechanical fabrication. During the process of 3D scanning, the physical model is reformed by a number of scanned points which are used for creating NURBS curves and surfaces. Digital Fabrication: From Digital to Physical Traditionally, the architects usually “drew what they could build, and built what they could draw”. However, this phenomenon still remains in some cases of the digital fabrication. The designers are now more engaged into the fabrication, because the digital information created by the designers can control the mechanical data of the fabrication machines in direct. Therefore, the processes of designing and of fabrication has more mutual effects on each other, for which the ability of architectural construction is becoming a functional aspect of digital design (computability). The digital production has more potentials for various creative ideas, but also “within schedule and budget framework”. As the complicated geometries are presented more accurate by the NURBS curves and surface, the CNC fabrication processes enable the more complex construction.
2D Fabrication: CNC Cutting
Two-dimensional Fabrication: In this method of digital fabrication, CNC cutting is most commonly used. It has a two-axis motion cutting head, the x and y axes, and it can only cut sheet materials by using the cutting head, a moving bed or a combination of the two. This method of fabrication involves various technologies, such as plasma-arc, laser-beam and water-jet.
Laser Cut format
Subtractive Fabrication: This method of fabrication is mainly used for subtracting certain volume of the materials by using various techniques, such as electro-, chemically- or mechanically- reductive processes. In this process, multi-axis milling is involved. However, the three-axis milling machine, including X, Y and Z axes, has some limitations, when it encounters the undercuts. Therefore, a four- or even five- axis machine is needed. The CNC milling movements are controlled by a series of computing coded instructions. Nowadays, the CNC milling is used for industrial purposes, as well, such as casting concrete on-site and off-site, with some complicated double curvilinear patterns.
R E A D I N G R E S P O N S E - WK 6
1.1
Additive Fabrication: This fabrication method is mainly used by adding materials layer by layer and the original digital solid model is divided into two-dimensional layers. This method also includes multiple techniques, such as SLA (Stereolithography), SLS (Selective Laser Sintering) an 3DP (3D Printing). Due to the limited size of the models, this technology is mainly used for making complex curvilinear geometries. A recent technology, called contour crafting, is a combination technique of extruding the surface shell of an object and filling the object’s core. Formative Fabrication: The formative fabrication is achieved by reshaping or deforming the materials, for which it can be axially or surface restricted. The materials might be permanently reshaped through heat, steam and bending. In this way, it can create many complex geometries, such as curvilinear and compound surfaces. Assembly: After the production, digital 3D models can be precisely assembled by moving each component aspect into the exact location. Compared to the traditional method which uses dimensions and coordinates from drawings and tape measures, the new technology uses laser positioning and electronic surveying. This new digitally-driven technique indicates that the construction of building components can be fully managed by a computerised information system and this is an evolutionary process of architecture industry.
READING APPLIED TO DESIGN How does the fabrication process and strategy effect your second skin project?
The most appropriate form of cutting technique to be used in our second skin project would be the laser cutter. As we intend to use either polypropylene or ivory card and they are both materials which can ‘absorb light energy’.
1.1- From ‘planar tessellation’ (2-Dimensional form) to second skin (3-Dimensional form). Achieved through folding and taking the cutted shapes out.
In order to fabricate our second skin, we can construct a digital model first (3-dimensional form) and convert it into a ‘planar tessellation’ (2- dimensional form), through the process of ‘nesting’. Which the laser cutter will ‘cut in corresponding pieces of the sheet’, then it’ll be folded maunally by hand, in order to transform it into a 3-Dimensional shape (shown in 1.1). By folding the ‘planr tessellation’ which will be laser cutted, it demonstrates a transition from a 2- dimensional form to a 3-dimensional form. The reading proposed the properties of a material can impact the design, for example, having the material respond to the internal/ external environment. In our second skin project, we intend for it to be adjustable, by having the ability to change its form/ and or transparency, depending on; the user’s preferences, the area of the body which the second skin is protecting and also the surrounding environment and circumstances (shown in 1.3). For example, in some areas of the second skin, it’ll be able to have its transparency adjustable through the mechanism of pulling a string (shown in 1.2). In instances where the user feels uncomfortable, they are able to pull the strings to allow the second skin to close up its gaps and converting it into a planar form (shown in 1.2 & 1.3). As the material will most likely be polypropylene or ivory card, these materials allows for it to be folded and reverted back into its original form a number of times, without compromising its intergrity. Further, the reading mentioned architects today ‘manipulates NURB surfaces to create complex surfaces’. Not only do these surfaces serve for ‘aesthetic reasons’, but also serving ‘structural purposes’, as there is a trend to ‘embedd the structure into the skin’. Hence, the skin having a dual purpose and become ‘one element’. In application for our second skin project, the ‘skin’ which is our ‘panel and folds’, will also act as a structural element. This will be shown as there will be no wire or structural frame to support it underneath and the folds itself will provide structural rigidity.
1.2- Can be adjusted from a solid planar surface to a transparent surface by pulling a string.
1.3- The transparency of the second skin can be adjusted to suit the user and its external environment.
R E A D I N G R E S P O N S E - WK 7 Digital Fabrications: architectural + material techniques/Lisa Iwamoto. New York: Princeton Architectural Press c2009
Describe one aspect of the recent shift in the use of digital technology from design to fabrication?
Tessellation is a highly aggregative pattern which has multiple panels attached to each other without gap. This architectural method has been used for centuries. Originally, it was used for mosaics on the screen walls or the stained-glass windows in the cathedrals. These surfaces can create lights and shadows interests, define spaces and delivery specific meanings. Most of these features are still remained in today’s tessellation structures. However, different form the handcrafted age, the patterns of the usually calculated by digital programs in the computers. The digital technology allows a transition from the digital model to the more simplified vector-line file for fabrication. Triangulation on a Cube
Hexagonal Body Frame
Moreover, nowadays, tessellation is not only used for decoration, but also used more frequently as a means for approximating a complicated surface, such as a curvilinear surface and double-curved surface. In this way, the manufacturers can fabricate these surfaces by using industrialised standard products, such as bricks, tiles and siding. In the undulating wall project by Fabio Gramazio and Matthias Kohler, the arrangement of each brick units is done by the robots, for which it was a revolutionary digital technology. In modern architecture, with the rapid development of the digital fabrication, the individual panel of the tessellation can be customised for creating various patterns and more geometrically complex surfaces which approach closer and closer to the aspiration of the architects. In the BMW Welt by Coop Himmelb(l)au, the unique flat panels placed on the large curvilinear surface is a great demonstration of using tessellation to deal with scales and curvatures. Also, software provides more tessellating potentials which spurs more design methods and styles. This reciprocity between the digital fabrication and the tessellation design is becoming more and more obvious.
READING APPLIED TO DESIGN Referencing from the lectures and readings, what is the implication of digital fabrication on your design ?
Firstly, grasshopper was used to tesselate at ease the frame of hexagonal pattern on the irregular surface we desired the second skin to cover. Thisdigital tool allowed us to deal with scales and curvatures without manipulating the frame mannually, which would require a lot of time and efforts. Secondly, we further triangulate the hexagonal frame using grasshopper so that the hexagonal panels of undevelopable nature can be unrolled in Rhinoceros and therefore can be lasercut in two-dimensional fabrication process. Moreover, digital programming is used to add complex cut patterns of popping out strips on the modular panels in our design. For example, offsetting of polylines was used to conveniently create a pattern of evenly spaced concentric polygons on a modular panel. Not only does this save time from physical protyping work, this allows us to digitally evaluate the optimal effect of the popping out pattern on each modular panel.
PROTOTYPE DEVELOPMENT Variation 1 We have continued to further develop our previous idea (shown in the previous rhino model and design development) by aiming to create a form which was able to be transformed from a 2-Dimensional shape to a 3- Dimensional form with volume. In our process of creating our prototypes, we experimented with different patterns and its effect it was able to create.
Variation 2
Our concept behind the prototypes was to allow the user to create and control the degree of transparency through having fishing rods connected to each strp of the pattern. When the fishing rod is pulled, the strips will contract. As a result, this forms a pattern and transform a solid panel to a volumised form. We have found, the level of transparency created and the volume is dependent on the pattern of the panel. Evaluation of variations Variation 1- The amount of transparency was too large and it lacked control, as the strips were quite irregular. Variation 2- The system did not create enough volume.
Variation 3
Variation 3- The form was too fragile.
After considering the different patterns of the different prototypes, we had decided to use this form of pattern for our final design (shown in the photograph below). As this pattern alllows creates the most volume compare to the others, whilst allowing for transparency. The trinangular division within the polygonal frame allows for easier fabrication as it is a developable surface. The triangular surface is a developable surface, as the triangles allows a curvelinear surface to be created through dividing it into multiple triangles. Hence, this will assist and allow for flexibility for our later design idea because of the potential of a developable surface. Further, by dividing it into triangles, it is more feasible for the fabrication process.
Transition from closed (2-Dimensional form) to open (3- Dimensional form)
P R O T O T Y P E O P T I M I S A T I O N - material
Material: Print Paper
Material: Cardboard
From our module 2, we have found the material we had used previously lacked rigidity, hence also lacked control. However, after experimenting with our prototypes, we realised we needed a material which allows flexibility for it to fold and unfold. Hence we wanted to find a material which allowed for flexibilty to an extend, whilst having some degree of rigidity. We had found by using printing paper, it did not hold its shape as it was too flexible (shown in image 1). We have considered using polyproplene, however it’ll mean we would have to ectch on the polypropylene to create the folding lines. We were concerned that if we folded the etched line repeatedly it will eventually break. However, folding the polyproplene without an etched line will create an unclean fold. As a result, we have decided to use carboard (shown in image 2), as it allowed for folding and also had a degree of rigidity which allows for the form/shape to hold in place, hence create volume. By having the fishing rods attached to the strips on each of the panel, it will result in having multiple fishing rods/strings hanging off the second skin. This will create an uncoherent aesthetic, therefore we are no longer used attachment (eg. fishing rods/strings) to connect the strips. But instead, to form the degree of transparency in the fabrication process and not providing the option for the user to adjust its transparency. -
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P R O T O T Y P E O P T I M I S A T I O N - effect After choosing to use cardboard, we narrowed down the choice of color. We had decided we wanted to use the material of our second skin to also reflect adaptability. This can be achieved through using a material which had a reflective quality to it. The metallic finish produces a reflective quality through capturing the light in the surrounding environment and radiating the light back into the environment. This alludes to the idea of which the second skin is something which can change and be adapted according to the environment. As the degree of reflectiveness depends on the amount of lght surrounding the second skin. In response to this, we have narrowed down to two types of metablic coloured cardboard. In our final design, we have decided to use the second reflective material, due to its higher degree of reflectiveness, compare to the material 1. Material 1: This cardboard is of a metallic white in colour and when light is shone upon it, the paper illuminates. an aqua/ green colour.
Material 2: This metallic cardboard has a higher reflective quality to it, compare to the metallivc white cardboard.
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P R O T O T Y P E O P T I M I S A T I O N - fabrication CONNECTIONS//
We have tried two ways of connecting the panels. The first method was to create 3D printed joints, by slotting the panels the two panels into it. However, we have found it created gaps between the panels. The second method we tried was by placing sticky tape over the connecting tabs behind the panels and stapling it. However, the sticky tape doesn’t allow for a clean finish. In our final second skin, we have decided to staple the tabs of the panel to connect them together.
Method 2: Taped
Method 1: 3D Printed Joints Method 3: Stapled
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P R O T O T Y P E O P T I M I S A T I O N - fabrication In terms of putting on and removing the second skin off, it is wrapped around the body and secured on the body by connecting two tabs. The connecting tabs are located underneath the right arm. At first, we attempted to connect the tabs by slotting the tabs into the holes. But we have found, after slotting it in and folding it into the holes, the tabs became frail. For the final second skin, we had decided to thread wires and securing the wires with glue. We had also used masking tape to hide the glue and colouring the tape with a metallic silver to make it less visible.
Wires attached
Tabs which became frail
Holes in the tabs for the wires to slot through
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2ND SKIN FINAL DESIGN
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For the final design, we separated the 2nd skin model into 3 major parts. The orange part is the sensitive area, the green parts are the less sensitive areas and they are used as transition parts for the whole model, and the last blue part at the back is the defensive part. The sensitive parts are very spiky and has low transparency. The transition has a smooth popping out form to connect the higher parts to the lower parts. The defensive part has more MAP- PERSONAL SPACE (3part DIIVISIONS) depth and more transparency, as back is not a sensitve area and it allows more transparency, but people cannot see it, so this area of the 2nd skin are still very spiky.
F A B R I C A T I O N S E Q U E N C E 1.0
For the hexagonal tesselation frame of our model, we used the Lunchbox in Grasshopper to generate the frame structure form the curvelinear surface.
F A B R I C A T I O N S E Q U E N C E 1.1
After we made the frame from the surface, we created the panels for our final design, we divided each hexagon cell into triangles for the later laser cutting fabrication. This step is very important for our final design, for which it’s much more accurate to unroll triangles instead of hexagonal surfaces. Then we numbered the edges of the triangles for the later model assembling.
F A B R I C A T I O N S E Q U E N C E 1.2
For doing the digital fabrication more effeciently, we used grasshopper for making the offsetting lines for laser cutting. We divide the panels into some smaller parts for the convenience of assembling and laser cut them separately to see the effects.
FABRICATION SEQUENCE 1. Laser cutted the panels 2. Cleaned the surafce of the panels to remove dust and finger prints. 3. Etched all the lines which were going to be folded again in attempt to make the folding smoother. 4. Located the location of the panels in relation to the body and matched which panels connected with which one, as each panel varies in terms of the size, lengths of each side and the number of sides. We had identified thewloaction of the panels through referring back to the rhino laser cutting file.
Etched the lines
Stapled the tabs
5. After the identifcation, we had stapled the tabs on the panels to connect them. 6. The other side of the surface had laser cutting marks which cannot be removed. Since the triangular strips will be pulled out in the final design, we had to address this problem. Initially, we had decided to spray paint the other side, however due to the consistency and wetness of paint, we were concerned it was going to leak onto the other side through the gaps. We also considered spray painting it before laser cutting, however this won’t prevent the marks of laser cutting. We decided to use a silver metallic marker to colour over the other surface.
Burnt marks from laser cutting
7. Made the connection for it to wrap around the body.
Effect of panels co+loured in
Coloured surface using silver metallic pen
ASSEMBLY DRAWING
FINAL 2ND SKIN
Appendix