DIGITAL DESIGN + FABRICATION SM1, 2016 M3 JOURNAL - SLEEPING POD XIAOCHENG WEI 716100 & ALLISON WEBBER 756580
MICHELLE
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Introduction
Our M2 design focussed on making an adaptable structure with interlocking pieces, using light screening to create a sense of privacy. Using section and profile structuring to create various densities to screen light through,we designed it to be possible for the user to be hidden to others, or able to make it so they can be seen. Moreover, we used foam interlocking with wood to create a comfortable and supportive base that the user could use to rest. However, after m2 the screening and balancing of the object needed to be revised to be more practical to fabricate. - the shape of the neck frame should be more ergonmic - curve down to shoulder - rethink about the material which is connected to the foam
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Design development
This change in the design would be very comfortable and fit all body types since it is rope. And the users can adjust their sleeping positions (arms).
Changing the depth and the height of the foam block to make it more ergonomic. Also the density of the foam may influence the user experience.
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Design development
head frame version 1 the small noches will let the frame lock into place
head frame version 2
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head frame version 3 There are 2 sets of notches, so the user can lock the screening closer or further away from their face.
head frame version 3 Only the head frame in the middle will notch into the neck base. Since all the head frames are connected with the back plywood screening, only the middle will need to notch into the neck base, the other frames will also stay in place.
Design development
double frame
the top screening pieces have changed its angel and depth to be better coop with the light from top.
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Design development + fabrication of Prototype V.2
We have add EVA foam at the bottom of the neck structure. And the EVA foam stay in a bending shape after heating up.
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Reading Response Wk 6 Architecture in the Digital Age - Design + Manufacturing/ Branko Kolarevic, Spon Press, London c2003
Briefly outline the various digital fabrication processes. Explain how you use digital fabrication in your design?
For our design, we extensively used digital design in order to design and fabricate our sleeping pod. We modelled our design in rhino, mainly using curves to do so since our design has a curved appearance. We then made all the pieces interlock and used boolean split to create accurate notches in order to slot our design together and make it, using rhino undoubtedly making it easier and more possible to create the idea we had envisioned. Furthermore, we flattened the finished geometries and lasercutted them on plywood and polypropylene, which would have been very difficult without utilising digital design and fabrication methods.
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Reading applied to design How does the fabrication process and strategy effect your second skin project?
Our project has been largely influenced by digital fabrication techniques. For example, if we had designed our sleeping pod only by hand, it would be unlikley that we could have as many screens and notches, which would have been very difficult to cut by hand. Furthermore, making an interlocking structure with section and profile would have been very dificult to measure and conceptuallise without accurately 3d modelling it, the numbers and positions of certain pieces being hard to understand. Finally, lasercutting has enabled us to use a variety of different sheet materials to fabrcate the sleeping pod, giving it visual and structural interest. pictured: examples of how we have lasercutted various materials for our design through 3d fabrication, as well as some images to show what the laser cut sheets looked like.
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Reading Response 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?
While there used to be no other option for fabrication than designing all the pieces by hand and through using exact measurements, and doing so multiple times before able to finally measure the pieces for assembly, digital design has simplified this process. Since it has become possible to digitally model designs in recent times, the same software can be used to flatten the design to be printed on sheet materials or 3d printing, it eliminates re measuring and cutting pieces out by hand. It is also simpler to show plan and elevation views of the design, which are invaluable for those assembling it, or to explain the design itself. In our design, we similarly used 3d modelling to help inform and fabricate our design, the interlocking structures likely proving difficult to cut and measure traditionally.
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Reading applied to design Referencing from the lectures and readings, what is the implication of digital fabrication on your design ?
Designing our sleeping pod digitally has benefitted us in numerous ways. For example, using a 3d model and lasercutting its elements enabled us to print and build the model ourselves, as oopsed to having the pieces manufactured by another company or doing it by hand. This meant we were more involved and connected within the design process, as well as saving us time. Furthermore, by having a 3d model, we could rotate and see inside views of the light screening, which informed descisions on how they were positioned, as well as the way the shadows fell on various densities of screening.
pictured: various views of the inside of the screening, which would have been very difficult to understand without the use of rhino.
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Prototype development
-The height and depth of the foam block. -The front foam structure
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Prototype optimisation
here, we tried to paint the foam white in order to have a unified appearance to our design, However, the fabric paint would not dry, and reallyweighed down the foam. Next we tried spray paint, and while this did dry, it became crunchy and hard. Finally, we used hot glue to cover the foam, which made it even softer and more comfortable.
We also painted the frames and sceening, initially trying to use acylic paint. However, his did not dry smooth, and was time consuming. Instead, we used white spray paint for a even finish.
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For the supporting frame, we tried to use ply wood first. However, this broke when we picked it up. To fix this, we re printed it in perspex, although this proved even worse, breaking even more frequently. To temporarily fix this, we reinforced the perspex layer with the wood layer, as well as duct tape.
we also tried seeing how polypropelyne would perform as the neck supports. While it did hold together, it was a bit too thin, and moved under pressure.
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Prototype optimisation
Here, we tried testng different densities of foam. The white foam is the least dense, and we tried using this for the back of the head. however, it was too soft, and if we were to put our heads back, it would be uncomfortable. We also tried using the denser green and yellow foam pieces on the sides of the head, but these were too hand for it to be possible to tilt our heads to one side. However, using the green foam at the back and the white foam at the front worked very well.
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2nd Skin final design
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Fabrication Sequence
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Assembly Drawing
lowest neck frame goes beneath the support frame to support load
foam pieces slot into the 4 neck frames
top of rope ties onto the lower neck frames
rope goes through holes in the foam pieces and gets tided up beneath
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top screening slots into the head frames
left screening slots into the head frame
back screening slots into the back slots of the head frames
center right screening slots into the head frame
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SLEEPING POD
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Appendix
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