Module 4 reflection by Melon

MODULE 4 REFLECTION

ZEYU LI 634 091

DIGITAL DESIGN AND FABRICATION Michelle Emma James SEMESTER 1 2015 DIGITAL DESIGN AND FABRICATION

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DIGITAL DESIGN AND FABRICATION

MODULE 1

IDEATION

DIGITAL DESIGN AND FABRICATION

M1.01

OBJECT PAPER FAN IS A TYPICAL SKIN & BONE STRUCTURAL SYSTEM. A SIMPLE CONNECTION, PIN CONNECTION IS APPLIED TO THIS SYSTEM. PIN CONNECTION PROVIDES THE ABILITY OF THE STRUCTURE TO CHANGE THE VOLUMES EASY AND FAST. A FOLDING SURFACE AND A RIGID STRUCTURE AND A PIN CONNECTION KEEP THE SYSTEM WORK PERFECTLY.

DIGITAL DESIGN AND FABRICATION

M1.02

FOLDING IN ORDER TO MAKE PAPER FAN WORKS PERFECTLY, FOLDING IS A SIGNIFICANT THING TO CONSIDER AS WELL AS BECOMING A KEY POINT IN OUR DESIGN LATER. AS LISA LWAMOTO DISCUSSED IN HER ARTICLE “DIGITAL FABRICATION - ARCHITECTURAL AND MATERIAL TECHNIQUES“ (2009)

“FOLDING TURNS A FLAT SURFACE INTO A THREE-DIMENSIONAL ONE “

DIGITAL DESIGN AND FABRICATION

M1.03

ANALYSIS - MEASURED DRAWINGS

MATERIAL IS ANOTHER KEY POINT TO THINK ABOUT PAPER FAN AS FOLDING IS THE MOSTLY LITERALLY MATERIAL OPERATION. THE SURFACE SHOULD BE NATURALLY DEFORMATED AND INFLECTED TO CREATE THE THREE-DIMENSIONAL. MATERIAL SHOULD BE STIFF AND RIGID ENOUGH TO CHANGE AND ALSO SHOULD SPAN AND SELF-SUPPORTING.

DIGITAL DESIGN AND FABRICATION

DESIGN PROPOSAL - ANALYSIS

M1.04

BY THINKING ABOUT THE FOLDING SYSTEM, I FIRSTLY COMING UP WITH A VERY FLUID SHAPE (THE MIDDLE ONE). I WANT TO CREATIVE SOME THREE-DIMENSIONAL WITH DIFFERENT VOLUMES. THE MATERIAL FOR THIS ONE SHOULD BE VERY SOFT AND EASY TO SHAPED. HOWEVER, RIGIDITY STIFFNESS SHOULD ACHIEVED AS WELL, OTHERWISE IT IS NOT POSSIBLE TO SUPPORT BY THEMSELVES. SO I DID OTHER TWO WORKS WHICH BOTH HAVE RIGID STRUCTURES IN SOME WAY TO HOLD THE STRUCTURES AND PROVIDE A CHANGING VOLUME.

DIGITAL DESIGN AND FABRICATION

MODULE 2

DESIGN

DIGITAL DESIGN AND FABRICATION

M2.01

PRECEDENT WORKS JUM NAKAO CREATED ONCE-WOODEN DRESSERS IN 2005, THEY USED LIGHT WEIGHT MATERIAL PAPER TO FORM THE DRESSERS AND USED LASER CUT TO SUPPORT THE SHAPE. THE COMBINATION AND THE CONTRAST OF FLUID AND RIGIDITY WORKED REALLY WELL TO CREATE THE VOLUME. THE COLLECTION OF OSCAR CARVALLO SHOWS HOW EASY A FABRIC CAN SHAPE THE BODY WELL AND ALSO CREATE A KEEP CHANGING VOLUME.

ONCE-WOODEN DRESSERS - JUM NAKNO - 2005

DIGITAL DESIGN AND FABRICATION

FALL COLLECTION - OSCAR CARVALLO - 2014

M2.02

PRECEDENT WORKS BURNHAM PAVILION I ZAHA HADID DIFFERENT FROM THE OTHER PRECEDENT WORKS, WHICH USED DIFFER-

ENT MATERIALS TO ACHIEVE THE DESIGN INTENT, HADID USED A STIFF MATERIAL BUT MAKE A REALLY FLUID SHAPE. SKIN AND BONE STRUCTURE CONCEPT HAS REALLY SHOWN IN THIS PROJECT. MEANWHILE, A CONTINUOUS CONNECTION ALSO USED TO SUPPORT THE FLUID SHAPE. LASER CUT IS A GOOD OPTION.

BURNHAM PAVILION - ZAHA HADID - 2009

DIGITAL DESIGN AND FABRICATION

M2.03

PERSONAL SPACE

“...SPACE: IT IS THERE, BUT WE DON’T TALK ABOUT THIS...” IT IS COMMON THAT EVERYONE HAS THEIR OWN SPACE, A ZONE THAT THEY FEEL SAFE. BUT IT CHANGES WHEN WE FACING WITH DIFFERENT PEOPLE. OUR GROUP DID A TEST OF HOW BIG IS OUR PERSONAL SPACE IS. IT SEEMS NO ONE WANTS TO GET TOO CLOSE TO A PERSON THAT WE DON’T KNOW BECAUSE OF POTENTIAL RISKS. PEOPLE WILL PROTECT THEMSELVES AGAINST INVASIONS, BUT IN DIFFERENT WAYS. FROM THE BOOK “PERSONAL SPACE“ SOMMER (1969) POINTED OUT THAT INTROVERTS AND ANXIOUS PEOPLE HAVE BIGGER PERSONAL SPACE THAN EXTROVERTS.

30cm

INTIMATE ZONE DIGITAL DESIGN AND FABRICATION

65cm

FRIEND ZONE

120cm

STRANGER ZONE

M2.04

DESIGN CONCEPT

“TO CREATE A FLUID SHAPE BUT CONTAINS FLEXIBILITY TO DEAL WITH DIFFERENT FORMS BY USING MULTIPLE TOOLS AND MATERIALS.”

FLUID

CONTRAST

FLEXIBLE DIGITAL DESIGN AND FABRICATION

M2.05

FIRST DESIGN IDEA BASED ON OUR DESIGN CONCEPT AND BOTH OF US CREATED A FLUID WRAPAROUND SHAPE TO PROTECT THE BODY. TO AVOID MONOTONOUS DESIGN, DIFFERENT LAYERS ARE CREATED TO ADD MORE LIGHTING EFFECTS. TO ACHIEVE THE CONTRAST IDEA, ONE AGGRESSIVE BENDING SHAPE WITH COMING OUT THORNS IS APPLIED AS WELL.

DIGITAL DESIGN AND FABRICATION

M2.06

PLAN& SECTION CONCEPT CONTRAST WILL BE SHOWN IN DIFFERENT MATERIALS. THE WRAPPED PART WILL BE MADE IN SOFT AND LIGHT WEIGHT MATERIAL - PAPER, IN ORDER TO SHAPE THE FORM. A RIGID MATERIAL MAYBE MDF WILL BE APPLIED TO CREATED THE DEFENSIVE PART.

DIGITAL DESIGN AND FABRICATION

M2.05

DESIGN DEVELOPMENT

THE FIRST DESIGN WE COMING UP HAS TWO OBJECTS COMBINE TOGETHER TO ACHIEVE THE CONTRAST DESIGN INTENT, ONE IS VERY FLUID AND THE OTHER IS VERY RIGID. BUT SOME PROBLEMS SHOWN UP AS WELL. FIRSTLY, HOW WE MAKE THE FLUID PART STANDING BY THEMSELVES ON THE BODY AND HOW WE CONNECT THESE TWO DIFFERENT OBJECT. MEANWHILE THE DESIGN DOES NOT LOOKS INTEGRATED, AND THE FLUID PART IS NOT VISUAL STRONG ENOUGH. SO WE CHANGED DESIGN BY ONLY USING THE BENDING SHAPE AND FORMED AROUND THE HAND AND HEAD. THE SECOND DESIGN IS LIKE A DRESS BUT IT IS A DEFENSIVE DRESS. IT’S A NORMAL DRESS WHEN YOU FACING WITH PEOPLE THAT YOU KNOW. AND IT CAN PULL THE FRONT BIT AND SHOULDER PARTS UP AND COVER THE HEAD AREA TO CREATE A PERSONAL SPACE, AND THE THORNS IS POINTING OUT AND PROTECT THE BODY. BUT TOO MANY THINGS IN ONE DESIGN, SO WE ONLY KEEP THE FRONT BENDING SHAPE IN FINAL DESIGN.

DIGITAL DESIGN AND FABRICATION

M2.06

FINAL DESIGN

DIGITAL DESIGN AND FABRICATION

M2.07

FINAL DESIGN

DIGITAL DESIGN AND FABRICATION

MODULE 3

FABRICATION

DIGITAL DESIGN AND FABRICATION

M3.01

DIGITAL PREPARATION

DIGITAL DESIGN AND FABRICATION

“...WORKING DIGITALLY ENABLES MOVEMENT FROM ONE REPRESENTATIONAL FORMAT TO ANOTHER...“ CURVED SHAPE IS USING A LOT IN OUR FINAL DEISN, AND IT IS BIT DIFFICULT TO CUT BY HAND, SO WE LASER CUT BOX BOARD TO GET OUR JOB. LWAMOTO (2009) ONCE MENTIONED THAT CURVED SHAPE ARE RELATIVELY COMPLEX AND EXPANSIVE. HOWEVER, WORK DIGITALLY CAN REDUCE COST AND LABOUR AS MOST WORK ARE DONE BY CONTROLED THE COMPUTER. THE PICTURE SHOW THE FABLAB TEMPLATE WE PREPARED FOR LASER CUT AND THE ASSEMBLE DIAGRAM AS WELL. BECAUSE WE USED FABRIC TO COVER THE BOXBOARD AND CONNECTIONS AND ALSO MAKE OUR DESIGN MORE LIKELY A DRESSE, SO ALL THE CONNECTIONS ARE SEWED BY HAND WHICH CAN PROVIDE A FLEXIBLE MOVEMENT AS WELL.

DIGITAL DESIGN AND FABRICATION

M3.02

PROTOTYPE LIGHTING CREATING SOME REALLY INTERESTING AND POWER ON VISUAL IMPACT. THROUGH THE LECTURE, VISUAL IMPACT IS MENTIONED WHICH CAN MAKE A DESIGN STRONGER AND MORE IMPRESSIVE. SO WE TEST HOW DIFFERENT SHAPES CAN FORM DIFFERENT SHADOWS AND EFFECTS. SOME CONNECTION DETAILS, HOW TO USED WIRE TO SUPPORT LIGHT WEIGHT MATERIALS TO STAND BY THEMSELVES AS WELL.

DIGITAL DESIGN AND FABRICATION

PERFOR

DIGITAL DESIGN AND FABRICATION

3.03

RMANCE

DIGITAL DESIGN AND FABRICATION

PERFOR

DIGITAL DESIGN AND FABRICATION

3.04

RMANCE

DIGITAL DESIGN AND FABRICATION

MODULE 4

REFLECTION

DIGITAL DESIGN AND FABRICATION

M4.01

REFLECTION

“...DIGITAL IN SENSE IT IS A NETWORK OF INFORMATION AND RESPONSIVE TO THE CONTEXT...“ IN THIS SUBJECT I REALLY MET LOTS CHALLENGES AND MADE MY DESIGN PROCESS REALLY DIFFICULT. JUST LIKE WHAT LWAMOTO WROTE IN HER ARTICLE, DIGITAL MODELLING HAS IT’S POTENTIAL TO IGNORE THE CONNECTION BETWEEN TWO OBJECTS, THEY AFFORDING A HYPOTHETICALLY SEAMLESS CONNECTION DESIGN AND MAKING. BUT THE REALITY DOES NOT LIKE THIS. THE FIRST MODEL FOR OUR DESIGN WAS FAILED BECAUSE WE SPENT NEARLY 30 HOURS TRIED TO GLUE THE FABRIC TO THE BOX BOARD WITHOUT DAMAGE THE SHAPE AND BENDING ABILITY WHEREAS IN RHINO, RENDER CAN ACHIEVE THIS IN FEW MINUTES. BUT IT HELPS US TO ELIMINATE ALL THE THINGS THAT NOT NECESSARY AND MAKE OUR DESIGN BIT SIMPLE BUT STILL IMPRESSIVE. DIGITAL DESIGN AND FABRICATION

REFLECTION

M4.02

SECONDLY, I’VE USED MULTIPLE TOOLS AND MATERIALS DURING THE PROCESS IN MAKING THE FINAL MODEL. WE USED LASER CUT TO CUT THE SUPPORTING STRUCTURE AND USED FABRIC TO COVER THE CONNECTIONS. MY FIRST SEWING WORK IS FOR THIS SUBJECT. I MADE A WHITE DRESS AT THE FIRST TIME WHEN WE DID THE PROTOTYPE. BUT WE DIDN’T USE IT IN THE END AS WE THINK IT’S NOT NECESSARY AND IT IS A BIT UGLY. WHAT I WANT TO SAY IS I’VE REALLY LEARNT A LOT IN THIS SUBJECT, NOT ONLY THE DIGITAL SOFT WARES LIKE RHINO, PHOTOSHOP AND INDESIGN, BUT ALSO LEARNT THAT SOMETIMES KEEP THE DESIGN SIMPLE IS BETTER TO PUT THE ALL THE IDEAS IN ONE DESIGN. COMMUNICATION IS ANOTHER IMPORTANT THING DURING THE GROUP WORK, OTHERWISE NO WORK WILL BE DONE.

“...MAKING BECOMES KNOWLEDGE OR INTELLIGENCE CREATION...” DIGITAL DESIGN AND FABRICATION

APPENDIX.01

REFERENCES READING REFERENCE: Lwamoto, L 2009, Digital fabrications: architectural and material techniques New York, Princeton Architectural Pres. Rifkin, J 2011, The third Industrial Revolution Palgrave Macmillan, New York. Sommer, R 1969, Personal space : the behavioral basis of design / Robert Sommer, Englewood Cliffs, N.J., Prentice-Hall. Dezeen Magazine 2009, Burnham Pavilion by Zaha Hadid Architects, viewed 7th June 2015, <http://www.dezeen.com/2009/08/24/burnham-pavilion-by-zaha-hadid-architects-2/> Parrish, J 2009, Once - Wooden Dresses, viewed 7th June 2015, <http://www.trendhunter.com/trends/jum-nakao-paper-dresses> Carvallo, O 2014, Oscar Carvallo Fall 2014 Collection, viewed 1st June 2015, < http://nymag.com/thecut/runway/2014/fall/paris/couture/oscar-carvallo/> RECOMMAND VIDEO: Natali, E 2014, Seaweedâ&#x20AC;&#x2122;s of light -defining personal space, viewed 5th June 2015, < http://www.iaacblog.com/maa2013-2014-public-space-capsules/2014/03/seaweeds-of-light-defining-personal-space/ > The Creatorsproject < https://youtu.be/f0Vo4QlycrY > DIGITAL DESIGN AND FABRICATION

CREDITS

Page

Drawings

Computation

Model Fabrication

Model Assembly

Cover 6

Photography

Writing

Graphic Design

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APPENDIX.02

CREDITS

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22 23 24

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26 !!

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Student name

Frida Haeckner

Student name

Zeyu Li

DIGITAL DESIGN AND FABRICATION

MODULE 4 REFLECTION

ZEYU LI 634 091

DIGITAL DESIGN AND FABRICATION Michelle Emma James SEMESTER 1 2015

DIGITAL DESIGN AND FABRICATION