DIGITAL DESIGN + FABRICATION SM1, 2016 Light Cocoon Yuting Yang (813151) MAtt + Group 4
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CONTENTS
0 INTRODUCTION 1 IDEATION 2 DEIGN 3 FABRICATION 4 REFLECTION 5 APPENDIX
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0.0 INTRODUCTION In this project, according to the wearer’s needs, a second skin is designed to define her personal space. The design idea begins with the observation. The personal space is decided through readings and experiments about the wearer in a specific circumstance. The fundamental material system is panelling and folding which is explored through the analysis of an expanding file. The features of this system underpinned the form of the final design. Digital techniques have a great contributions to the phrase of design and fabrication. The utilization of digital modeling in Rhino is crucial to the design process. Laser cutting facilitates the translation from digital model into physical object.
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1.0 IDEATION
Individual: Yuting Yang 813151
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1.1 OBJECT Measured drawing
260 mm
130 mm
The expanding file was scanned directly in required shapes and sides. Then the scanned photo were changed into 1:2 scale and printed out. Next the outlines were traced on the tracing paper from the printed photos. During the process, dimensions were measured manually from the real object to fix the errors accrued during the scanning process.
130 mm
ELEVATION (when closed) Scale 1:2
398 mm
SECTION 1(when closed) Scale 1:2
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SECTION 2 (when open) Scale 1:2
Digital Rhino Model
BOTTOM VIEW
RIGHGT VIEW
FRONT VIEW
TOP VIEW
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1.2 OBJECT + SYSTEM ANALYSIS
Side Sheet
Side Sheet
Inside Sheets
Side View
Top View
CLOSED
Side Sheet
Inside Sheets
Side View
Top View
PARCIALLY OPEN
Inside Sheets
Side View
Top View
FULLY OPEN
The folding technique is used in the side sheets to adjust the volume of the pockets. • When the file is closed, the sided sheets are folded and stay together. There is no inside volume and the whole oject ocuppies minimum space. • When the file is partially open, the sided sheets are serrated from the top voew. There is certain volume between each two parrallel sheets. • When the file is fully open, the side sheets are straight. There is the maxinmum volume between each two parallel sheets.
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1.3 VOLUME
The first cone
The first cone with closed
The first cone with open bottom
top
The two outside folded panels
The second cone with both sides open
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Only the outside folding panels were used as my design material. This part with the folding technique is the strongerst part especially along the vertical folding line. Hence, the panels were rolled up vertically. The inter points at the top are all sticked together while the bottom can expand. That is proved that the elements are strong enough to stand the weight of a heavy book.
A heavy book laying on the two cones
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1.3 SKETCH DESIGN PROPOSALS
PROPOSAL 1
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Neck is narrow but vulnerable. The personal space changes under different circumstances. Accordingly, the size of the “rivet” is adjustable.
PROPOSAL 2
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Back is out of own sight. With the pivot, this system can be closed or open. It is easy to carry around and works when needed.
PROPOSAL 3
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It is felxible to surround the part where needs the protection. Twisting forms volume.
1.4 REFLECTION OF MODULE 1
Firstly, observation is a key phrase of designing (Heath et al. 2000, p.7). Through measured drawing and digital modelling, every detail of the object was observed. Therefore, it is the process of examining good and bad qualities and archiving better understanding of the object form, material and technique system. I mainly discovered the strength enhanced by the folding and panelling technique without making it solid. At the same time, the technique saves materials as well as spaces.
In terms of personal space, the extensions are various in all directions depending on different circumstances and different cultural background of the person (Sommer 1969, p.26). As a result, in my sketch designs, I explored the flexibility of the second skin and the application in different body parts.
However, in the future designs, to generate a more concrete design, it is better to narrow down the focus into only one and explored the specific idea in different methods. For instance, the proposal one is the most potential design. The idea of adjustable and the extrusion can be further explored in terms of conjunction, direction and object unity. In addition, the precedent should concern more about how to establish the personal space with the panelling and folding system instead of fashionable stuff.
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2.0 DESIGN
Group member: Nurul Syahirah Muhamad, Joo Liew and Yuting Yang
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2.1 DESIGN DEVELOPMENT INTRO
NINE IDEAS DEVELOPED IN MODULE 1
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DESIGN DEVELOPMENT FROM MODULE 1
FURTHUR DEVELOPED DESIGN
THE DESIGN CHOOSEN FROM MODULE 1
A variety of sketches exploring potential concepts, defining range of personal space and taking into account individual distances. An upper body part range was decided upon, defining importance of instinctive space among the majority. Extrusion and intrusion of panels which have ability to fold were analyzed in further detail at this stage, including experimentation with over-sheltering and lack thereof, and in addition, investigating natural shell mechanisms found in some types of fauna as used as passive protective schemes.
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2.2 DIGITIZATION + DEIGN PROPOSAL V.1
Model derived from a range of ideas, in particular suiting the needs of an extroverted wearer of small physical build. The current concept visualizes how the form is able to twist around the upper body, minimizing individual distance yet allowing for sufficient personal space. The frontal extrusion portrays the idea of an occasional defense mechanism to be used sparingly. The model has the ability to move according to the user’s needs; to provide cover when they prefer, and also increase exposure by the user’s will.
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TOP VIEW
FRONT
RIGHT
LEFT
BACK
PESPECTIVE
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2.2DIGITIZATION + DEIGN PROPOSAL V.2 450mm
PERSONAL SPACE FRONT VIEW
450mm
450mm PERSONAL SPACE TOP VIEW
PERSONAL SPACE LEFT VIEW
Model formed from the inteferance of personal space and attempt on finding the best enclosure for our second skin. We contraint the space up to 450mm from the user. For this proposed design, we open up the front and cover the back of the head because we assume that this second skin is for people who feel uncomfortable from the sides that they cannot see. The model is used outdoor, thus the design enclose the space above head so to protect user from extreme wheather.
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TOP VIEW
FROVNT
RIGHT
LEFT
BACK
PESPECTIVE
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2.3 PRECEDENT RESEARCH PUPPET THEATER MOS - PIERRE HUYGHE, 2004
CONCEPT: TRAINGLE, PENETRATION, MODULATING, INTERLAYER Description: • Built with polycarbonate panels. Panels under light penetration, creates suspension. • Consists of triangle which allows more surface curvature • Interlocking forms a rigid shape. Panels are bolted together as a uniform system. It works as an egg - forces dissipate across the whole surface. •
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Ceiling panels flipped over to create skylights Work as keystones on an arch for structural stability. Foam inserted into the panels to stiffen the shell.
Twisting panels to form a space. Photo: MOS (2004)
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Inside of Puppet Theater: all panels work as a whole.
Ceiling of Puppet Theatre: some panels are fliiped over as keystones.
Photo: Florian Holzherr (2009)
Photo: Florian Holzherr (2009)
Cuevature formed by manipulating the pattern to create internal volume at back.
Singular to multiple elements (variations produced when combined at different angles).
Modulating some pieces to add stability to the structure.
If light can come through splayed surface, it creats a ray effect. Light is important in assisting with optimal sight in people.
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2.4 DESIGN PROPOSAL V.1
ISOMETRIC 2
Plan
PLAN
FRONT
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ISOMETRIC 1
RIGHT
LEFT
BACK
ISOMETRIC 3
An outer shell or exposed husk that creates spatial volume sufficient for introverted space. It is able to shield the wearer from unseen contact and allow them to convey their necessary personal space, similar to a iguana’s defense mechanism.
By exploring methods to create a more wearable form and prevention of infliction of pain upon the werer, the model is subjected to a more ergonomic change, followed by smaller panelling with different pattens for curvature.
Progressing from shell-like figure to a more crystallised form; creating rough jagged structures at the bottom to defend against others and prevent inflicting pain on self, respectively. It is more ergonomic in this instance.
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2.4 DESIGN PROPOSAL V.2
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1) A variation. Extraction of a minor aspect from design development 1. Lofting + ptPanelGrid (TriBasic) forms the planar triangular shapes to create a case-like structure.
2) Rounded form developed further from (1). Circular formation by addition of more planar surfaces.
3) With regard to (2) and the precedent, this is enhanced further. It is done in order to create a net casing structure and enclose the wearer from their surroundings thus imbuing comfort in the personal space of the wearer.
4) Attempt to develop a combination of rough, jagged upper edges with a smoother, rounded surface at the bottom. This portrays defensive mechanism in a slightly more aggressive way to outsiders yet at least holds physical comfort to the wearer.
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Sketches regarding the above formations and how the rib extrusion may come into play with diversity of connections, to serve as a mediator between the developed form and the wearer, as in, it acts as a combined entity with the second skin and despite its mild presence, it is not to be belittled by the other form’s blaring composition. The introverted wearer is able to feel as though they are being ‘consoled’ due to the mediator.
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The combination of an aggressively-shaped cylindrical form in symbiosis with the smooth husk form from version 1. As a result this creates a more intimadating perspective but this is evened by the presence of the smooth form. For the introverted wearer, this can portray a seemingly mild nature albeit with the want for more secure protection from outsiders.
Rib extrusion; a further developed variation of the initial extrusion connection. Supposed to be able to hold the developed case forms to the wearer. Depending on preferences, it is able to connect to the wearer’s body via the upper arm, shoulders, neck or around the chest.
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2.5 PROTOTRPE V.1 +TESTING EFFECTS PROTOTYPE
Prototype one uses stiff triangular units to form a passiveaggressive object.
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Prototype two tests on materials including paper of different weights and thin plastic paper. Different folding patterns are also tested.
TESTING EFFECTS
TRANSPARENCY EFFECT (SIGHT): Introvert may prefer solitude, but need light to do her work. Allow privacy in crowded space. Possible materials may consist of polypropene, acetate/perspex.
Possible gloss finish for a temporary blinding effect while some aspects may include matte texture finish to diffuse light permanently depending on the environment.
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2.6 REFLECTION OF MODULE 2
In module 2, it was mainly about testing and developing different ideas. At the beginning, sketch, the 2d drawing is the basic way to represent the concept of the design. To elaborate the design, 3d model is used. Compared with the traditional physical model, the digital model in rhino is more efficient with respect to the time, resource and result. As the design is based on panelling and folding system, the digital model is mainly a surface model represented as a thin sheet without thickness (Cheng 2008, p.2).
However, our group did not complete a prototype but focused on various forms. As a result, whether the design is buildable and whether the structure is stable can not be proved. Prototype to what should pay more attention is so significant to test the possibility of a design.
About the effect test, it should relate and contribute to the design concept which is providing a second skin and defining the personal space. The function should be the focus instead of wasting effort on fancy-looking irrelevant effects.
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3.0 FABRICATION
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3.1 FABRICATION INTRO
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It was reviewed the concept needed to explore a broader spatial volume. The necessity for it covered aspects of introverted personal space and individual distance with minor regard. The concept was considered vaguely 2-dimensional.
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In M3 we solved for alternatives and revamped the previous version through refinement and functionality of the current concept.
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An approximate radii of 1 feet from the head was still taken into account throughout refinement, as well as focusing on sight senses; in which cut off the influence coming from back and two sides allowing the focus on the front.
Final design from module 2.
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3.2 DESIGN DEVELOPMENT &FABRICATION OF PROTOTYPE V.2
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1:1 prototype made via origami paper and combined triangle panel sections.
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Discovered there is large potential for playing with distraction of outsiders’ sight and also the flexible formation of folding and panelling.
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Placement on the body actually signified spatial volume as a more primary concern.
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This prototype comes before the further developed digital prototype.
FEEDBACK
Other material needed to be used. Etching and labelling required to prevent confusion, including tabs. Key moments needed to be taken into account, as in the activity of the wearer and what circumstances they may experience.
Hexagon is the closet shape to a circle that can still form a grid while suffers less from orientation bias. Compared with a square grid, hexagon suffer less distortion due to curvature (remain the pattern). Honeycombs shape gives better aesthetic quality and make the inside space more cozy, like a residence.
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3.3 DESIGN DEVELOPMENT &FABRICATION OF PROTOTYPE V.3 DIGITAL VISUALISATION THOUGH 3D MODELLING IN RHINO
PT GRID SURFACE DOMAIN VARIABLE. point attractor to varied the panelling grid. PT OFFSET POINT. 30mm - 50mm. point attractor to varies the depth of each unit. PT PANEL 3D CUSTOM . hexagon solid shape. For the holes of each individual hexagon, we use PT GRID CUSTOM VARIABLE. Shape Hexagon. Point attractors to varies the hole size (0.2 - 0.8 size range).
PLAN
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FRONT
LEFT
PROTOTYPE FABRICATION
Mount board was experimented on; considered too thick and heavy for wearer.
Ivory card (290 gsm) was sufficient enough to fulfill personal space conditions.
Glue units edge by edge without tab.
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PROTOTYPE VIEW
Load comparison by reversing the way the model is worn. Found it is unable to self-support its load at a certain position.
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FEEDBACK
Prototype has larger holes on the bottom panels, leading to unsupported structure for upper loads. Bottom support around shoulders were rigid enough, however, so this feature is maintained.
Prototype was not rigid enough around the sides so an alternative was needed. However it id successfully sit on the shoulders with sufficient stability.
Initially, the prototype is most suited to these conditions for use: introverted female, reading/ drawing outdoors ambient lighting needed for her to do these activities with ease and being relatively difficult for outsiders to see the user’s head essentially ‘hiding’ her from the ‘outside’.
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3.4 FINAL PROTOTYPE DEVELOPMENT + OPTIMISATION READING RESPONSE WK 6 Kolarevic, B 2003, Architecture in the Digital Age: Design and Manufacturing, Spon Press, London.
How we have applied a fabrication process in our design: •
Assemblage: Done via organization of information of location of each component of the model, 3D-wise. The wireframe was initially extracted.
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Surface strategy: Developed Nurb surfaces to create a structural skin that can act independently as a static system.
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We then proceeded to 3D fabrication using 2D methods before manually making connections. Contouring/triangulation of mesh and polygonal tesselation was taken into consideration for surfaces, and then unfolded into labelled panel strips of each minor component (before forming the major component) on a sheet of 2D material (Ivory card at 290 gsm). Nesting was done and then proceeded to use CNC cutting (laser cutting machinery)
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Later the single panel unit combined to morph into form with more 3D volume thus influencing our design. Chiu, M and Genocchio, B 2010, Contemporary Asian Art, Thames and Hudson, London.
Image from text.
Image from text.
Formulated an ‘unwrapping’ sequence regarding panelling first and then visualising how to fold. Subtractive removal of components required to make a unit to fulfill wearer’ conditions and enhance sight.
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READING RESPOENSE WK 7 Iwamoto, L 2009, Digital Fabrications: architectural and material techniques, Princeton Architectural Press, New York.
Images from text
Considering the evolution of sketches to modelling in 3D virtuality: •
Digital fabrication and material techniques form a collaboration between the virtual and physical models. Recently digital technologies have becomes more pronounced and have more potential than traditional processes to lessen discrepancies between representation and building fabrication. The production of computers allow sculpting and coding modulation systems to enable to create 3D models and visualizationComputer-aided design (CAD) software allow for 3D models to e made and scaled beforehand producing accurate results when 3D printing . Computers serve a direct facilitation from digital construction to proper fabrication. Other machinery such as laser cutters, CNC cutters, 3D printers etc assists with this. Due to the recent shift, the traditional builder is now replaced with a ‘machine’.
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Such components enable us to create a literal material process and panel and folding allow for stiffness and rigidity but at the same time, flexibility of overall structure. 3D modeling has enabled the design to turn into a structural form via continuous process of deformation and inflection.
Images from text
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PRECEDENT
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The potential of creating a flat surface with hexagon units. Adding holes for allowing light coming in. Increase the volume by enlageing the depth. Triangulate the surface to get flat surface for better stability.
DESIGN DEVELOPMENT OF FINAL DESIGN
The depth of each unit is increased.
Hexagons are interlocked with each other creating better structural system.
The whole system is more solid and rigid.
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DIGITAL DEVELOPMENT
DOUBLE SURFACES. The prototype is too thin hence we increase the depth of second skin to meet the project brief, which must have 3D volume. PTGRID VARIABLE: CURVE ATTRACTOR. To varies the size of each hexagonal unit and create diagonal hexagon solid.
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21 POINTS FOR UV lines. Have tried with 15 to 25, but the best size and suitable with the depth of second skin is 21. The holes are not too small or too big. If it is too small, the hexagon pattern will not be seen and if the holes is too big, it is not have enough aesthetic look. PTGRID MANAGE 3D : customise HEXAGON SOLID so that we can get a honeycomb structure.
Instead of using PT PANEL 3D CUS prototype, we use PTPANEL 3D w
The honeycomb structure has m because there is no holes in betw The honeycomb pattern also allo of our second skin, which empha personal space.
STOM as we did with the with our own hexagon pattern.
more structural stability ween each individual units. ow the additional depth asis the dimension of our
The problem with prototype is, each surfaces of the individual units is curved in two ways, not a flat panel. To overcome this problem, we TRIANGULATE MESH to ‘polygonise’the surfaces, hence create a flat developable surfaces.
To create the holes, we tried to use PTPANELGRID with PT2D MANAGE with hexagons shapes. Hence varies the shape using point attractor.
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3.5 FINAL DIGITAL MODEL
PLAN
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ISOMETRIC
FRONT
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3.6 Fabrication sequence: TRANSLATION FROM DIGITAL MODEL INTO PHYSICAL OBJECT
Label each unit, and unroll layer by layer.
Use “PTtabs“ to add tabs with recession.
For each unit, join all surfaces together as one polysurface, and then unroll the polysurface.
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Make 2D
Create the hole by offsetting.
Fablab Template
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ASSEMBLING
Better assembling each unit with tabs.
Individual units have printed and cut/etched
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Tabs are glued outside where will be concealed whenall units are joined together.
Each component was separated and glued
Glued as separate groups.
Evolution of model via fabrication: from singular to a layer or a group to a whole.
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3.7 ASSEMBLY DRAWING
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3.8 COMPLETED SECOND SKIN
Front
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Right
Left
Back
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3.9 REFLECTION OF MODULE 3
Module 3 mainly relates to the translation from digital model to a physical object.
With the lesson from module 2, in this module, the prototype had become the main drive for the design and fabrication development. Testing on prototype informed us the method of enhancing the stability of the design, the form alternation of better fitting to the wearer and the decision of the material that appropriate to the structure. Through this process, the sentence claimed by Michael Speaks (cited in Iwamoto 2010, p.6) “making becomes knowledge or intelligence creation” is more comprehensive. The success relies on experience accumulated and techniques summarised through several experiments.
The big problem in this module was about the translation from digital model to a physical object. The solution was inspired by the concept introduced in the lecture, the developable surface which composes of a series of straight lines and simplifies the construction (Asperl et al. 2007, p.535). What we used to build the model at the beginning was Nurbs which “allow the precise definition of complex shapes through control point” (Scheurer 2011, p.72). However, the issue was how to transport it. A mesh, on the other hand, can only approximate a curved shape but the planar facets realise the transition from complex shape into buildable panelling and folding system.
After flattening the complicated shape, panels can be produced by the advanced technology, laser cutting. It did save a lot of time and effort for us to craft the second skin and the result is much more accurate and neat compared to the handcraft.
Module 3 is a phrase about finding problems and solving problems. Research, reading, experiment and discussing are all necessary to discover the methods. This is the significant instruction that I gained from this module.
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4.0 REFLECTION To begin with, through the whole process, I gained the solid knowledge about the paneling and folding system that basically folding enable a planar material to span distance, be self-supporting and more stiff and rigid (Iwamoto 2010, p.62). Also, I had the experience on panelling tool in Rhino and laser cutting in Fablab which are handy tools that can be applied in the future project. Secondly, the design process experienced during the semester will inform my future design. It starts with observation, research and analysis of the brief and specified concept to make sure that the design contacts with the world, the daily life and the user. Various ideas are generated through brainstorm individually. After comparing and discussing each idea, the certain innovative and potential ideas are chosen by group members for the further development. The method of the generating ideas in this project was shifting from hand drawing and crafting into 3D digital modelling. Then, it is a challenge to fabricate, to transform the design from the digital model into the real object. Different tools were explored and we chose the one that benefits the manufacturing process the most which in this project, was the combination of panelling tool and laser cutting. In addition, the prototype was crucial in the phrase to test the feasibility and practicality of the design in order to optimise it. During the whole process, relevant readings provide the fundamental concepts. Critical analysis of precedents pushed the design and manufacture forward. In general, a great design is usually underpinned by a logical design process. Moreover, I had the better understanding of the relationship between digital design and fabrication. Normally, architects tend to make abstract design and leave the construction difficulty to the builders and fabricators (Marble 2008, p.39). However, this is an unhealthy relationship that would lead to the gap between the representation and the real result. In this project, the design is completed through the digital modelling. Digital fabrication working as the mediator minimises that discrepancy. Firstly, three-dimensional computer modelling allows the imagination beyond the construction that the form is more audacious, innovative and even unrealistic. The fancy design forces the discovery of the new method of fabrication. Also, the design usually is further developed or adjusted in order to be buildable. The alternation is mainly depended on the testing result through the prototype making. Therefore, the design process in the digital age is not only about creating the form in imagination, but blends thinking, doing, design, fabrication and prototype altogether (Speaks, cited in Iwamoto 2010, p.6). The design should be organic and systematic as the traditional architect is the combination of designer, planner and builder. In general, digital technology is beneficial to the design process and digital fabrication calibrates the manufacturing of the design. Lastly, during Module two and three, I realised the importance of teamwork which is an almost inevitable activity for being an architect. Each individual possesses his or her own strengths. Gathering all strengths from each member boosted the quality of the final result. Besides, this is a precious opportunity to learn from each other. Owing to the group member, I enhanced the capability of hand drawing as well as journal layout. In addition, good communication helped the positive collision of ideas and the learning experience. For instance, the panelling tool and laser cutting were explored by three of us that the obtained knowledge is more comprehensive and profound. However, for this group work, the job was not distributed reasonably leading to the issues of job overlapping, absence and running out of time. As a result, a rational schedule and division of job should be confirmed at the beginning which would make the group work more coherent and efficient.
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5.0 APPENDIX
Asperl et al, 2007,Surfaces that can b built from paper / In H.Pottmann, A.Asperl,M.Hofer, A.Kilian (eds) Architectural Geometry, p534-561, Bentley Institute Press. Charny, D., 2011. Power of making: the importance of being skilled, London: V&A Publ. Cheng, R. 2008. Inside Rhinoceros 4 / Ron K.C. Cheng. Clifton Park, NY : Thomson/Delmar Learning, c2008. Heath, A., Heath, D., & Jensen, A. (2000). 300 years of industrial design : function, form, technique, 1700 - 2000 / Adrian Heath, Ditte Heath, Aage Lund Jensen. New York : Watson - Guptill. Iwamoto, L. 2010. Digital fabrications: architectural and material techniques, New York: Princeton Architectural Press. Kolarevic, B., 2003. Architecture in the digital age: design and manufacturing, New York: Taylor & Francis. Marble, S, 2008. Building the Future: Recasting Labor in Architecture/ Philip Bernstein, Peggy Deamer. Princeton Architectural Press. pp 38 - 42. 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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Page Drawings Computation Model Fabrication Model Assembly Photography Writing Graphic Design del Fabrication Model Assembly Photography Writing Graphic Design 1 X X X CREDITS X X X Nurul SyahirahX Muhamad raphy Writing Graphic Design 2 X X X X Nurul Syahirah Muhamad X X Joo Liew X3 X X X X X Page X X YutingModel Yang Assembly X X Joo Liew Drawings Computation Model Fabrication Photography 4 X X X X Yuting Yang 1 5 X X X X X 2 X 6 X X X7 X 3 X X X X X X 4 8 X X X X X X9 X 5 X X X X X X X 6 10 X X X X X X 7 11 X X X X X 8 X X 12 X X X X X X X 9 13 X X X X X X X X X 10 X 14 X X X X X 11 X X 15 X X X X X X X 12 X X 16 X X X X 13 X 17 X X X X X 14 X 18 XX X X X X X 15 19 X X X X X 16 X 20 X X X X X X X 17 21 X X X X X X 18 XX 22 X X X X X X 19 X 23 X X X X X 20 X 24 X X X X 21 X X 25 XX X X X X X 22 X X X 26 X X X X X X 23 X X 27 X X X X X X X 24 28 X X X X X X X XX 25 29 X X X X X X X XXXX 30 X 26 X X X XXX 27 X X XXX X X 31 X X X X X X X 28 X X 32 X X X X X 29 X X X 33 X X X X XX 30 X XX X 34 X XX 31 X X XX X 35 X X X X X 32 36 X X X X 33 37 66 X X X X X XX XX 34 XXXX 38 X X X X X X XXXX 35 39 X X X
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