DDF M3 Journal Final - 8A James, Kayla, David.

DIGITAL DESIGN + FABRICATION SM1, 2016 M3 JOURNAL - SECOND SKIN JAMES SCIESSERE, YUNKE YAO and DAVID BI (699068)+(779984)+(813477) MATT 8A

1

Introduction It is our intention thoroughout this module to not only apply the precedent that we couldn’t previously implement below, but to also go back to the final design in M2 and utilise the feedback given in order to create a better model.

The intention is that the model will remain consistent with the setting from M2, being something that you can use on the train to eusure comfort by controlling the way light is diffused through it.

A main goal is to ‘activate’ the entire model, as in that current iteration, much of the model doesn’t effectively address the design goals set in M2. We will achieve this by further prototyping the part of the model that was effective further, alongside developing the overall form of the final design. If we develop a technique to effectively control the way that we sectioning of a shape, we can easily apply it to another overall form.

WOODEN WAVES - BURO HAPPOLD

This precedent used different sized openings on a flat A4 page in order to manipulate the shape of the object when bent. The interplay between the compound lines and the more spaced lines creates an interesting means of filtering light through these shapes that we could potentially apply to the project.

(FROM M2 - APPLIED IN OPTIMISATION)

2

Design development (M2) We set out a series of curves that resembled the general shape of the prototype, and tried to create a continuous shape, in order to create a model that was more like one piece, rather than a series of elements crudely put together. The reason we decided on the shape that we chose to develop further was that we found it increasingly difficult to design something that didn’t curve back on itself, meaning we wouldn’t be able to actually make it.

3

Design development + fabrication of Prototype V.2

This prototype was effective in showing some shortcoming of the way that we intended to construct the final model.

The first image was the best perspective of the model, as it showed movement and not just a grid like the others. We also had to consider density and scale, as this was only a section of the final model but it was much too heavy to be viable, and also large and cumbersome.

DOG FOR SCALE

4

This developed design is much more effective, as the entire model has purpose and not just one aspect of it like our final design for Module 2. This was an overall shape that we decided to work with, and at this point we opted to further develop a sectioning technique, as we were satisfied with this form. We also strayed somewhat from our personal space illustration, as we had to consider real life aspects such as how the model was going to be worn and put on/removed after use.

PLAN VIEW

ELEVATION

ISOMETRIC

5

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?

There’s a revolutionary shift in digital development which the digital technologies are used not only as the medium of conception, but also as a medium of translation, from concept and design to physical fabrication or from the physical to the digital form.

For example, Branko Kolarevic mentioned in the reading that nowadays the 3D scanning software is allowed to capture and scan physical or digital model via the ‘point clouds’, then the points are all converted to NURBS in Rhino.

As digital fabrication technologies developed, there comes different procedures to achieve the process of ‘digital to physical’: two-dimensional procedure, subtractive procedure, additive procedure and formative procedure.

Two-dimensional procedure, or CNC cutting involves two-axis of motion of the cutting head, material bed or a combination of the two.

Subtractive procedure involves the removal of a specified volume of material from solids using electro-, chemically- or mechanically-reductive.

Additive procedure involves incremental forming by adding material layer-by-layer.

While the formative procedure involves process of heating or steaming to a material so as to form it into the desired shape through reshaping or deforming.

6

Reading applied to design How does the fabrication process and strategy effect your second skin project?

Our production process consisted of two-dimensional fabrication which using the laser cutter to get all the pieces of our model and then assemble them to make it 3D waffle structure model. Laser cutting requires us to create a precise shape in rhino with all the notches. We had to make sure the model didn’t curve in two directions, as this would make it impossible to fabricate.

And also, we had to make sure the pieces intersected at a 90 degree angle as the laser cutter cannot cut on an angle,

7

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?

The CAM and CAD has been one of the recent digital and technology shift in the industrial design and manufacturing and engineering. The computerized process, which effectively improves the efficiency of the upstream and downstream process, effectively simplifies the intermediate steps between design and final production. It is regarded as an evolutionary innovation to the whole design industry since it takes the three dimensional computer modelling and digital fabrication to emerge design so it expands the boundaries and increase the diversity of the designs. Also, it changes the roles of the architect, which means that they can oversight the building and the construction process, saving more time and cost.

8

Reading applied to design Referencing from the lectures and readings, what is the implication of digital fabrication on your design ?

During our design, we pretty much followed the steps that mentioned in the lecture and tutorial and implication of the digital design can be found. Firstly, we modified the digital Rhino design of overall model on our computer, the three dimensional model gave us the very first form of our final design and we tried to do the section and plan to see whether the form was organic in both sites. Also, the whole digital model is in mesh structure originally, and when we tried to trim some part of it, we managed to turn the structure that we want to trim into NURBS to digitalize that part and achieved the final effect we want. Moreover, as for the material, we used to create some very organic and curvy prototype but we gave them up due to the high cost and practicability, and basically that’s all the implication of the digital fabrication on our design.

9

Prototype development

As we intended to use laser cutting as our main fabrication method, we resigned ourselves to the fact that our grid must intersect at a 90 degree angle, however we were able to mask this fact by effectively putting that grid at a viewing point that would not be seen, For this stage in the design, we put the grid on the plan view of the model as it would not be viewed from the top, also moving the desired view from the prototype to the front and sides.

10

11

Prototype optimisation

At this stage in the design, we had to consider the overall weight of the model. In the X-axis, we decided to cluster the planes with an emphasis on desnsity behind the head. This is the main connection point between the user’s body and the concept, therefore, we wanted the the majority of the weight there, as it will stay on the body more effectively. In the Y-axis, we opted to cluster the planes with more density either side of the head, leaving less pieces running vertically through the user’s eyeline. It also created a contour which we thought may be a viable way to control light, however we decided not to pursure it in that way.

12

The angle of the grid was another thing we explored in detail, as this was element that effected our light dispersion effect the most directly. The intention was to manipulate the angle of the grid, in ordar to manipulate the angle of the openings. this lead to us having to also alter the distribution of the planes as they did not perform in the same way as when they were vertical. One thing we found was that in changing the angle of the grid, we produced interesting pieces that illustrated our idea of movement very effectively.

13

Prototype optimisation

Materiality was another consideration we made when designing the final model. The very first prototype we did in M2 was made out of wood, however we wanted control over the transparency of the model, so we explored other options such as a hybrid combination and different types of transparent materials. We wanted to emphasise particular pieces so we decided to use two types of perspex, one shaded, one clear.

14

We also refined the form of the model further, putting in an opening so that the face is not obscured. The cutlines we proposed for the opening were situated close to the corner of the eye, radiating out. This was to retain the sense of awareness previously mentioned in M2.

15

Prototype optimisation

From this stage onwards, the optimisations were dedicated to making the model fabricatable. This process involved finding the midpoint between intersecting planes, and creating openings in both the X and Y axes, with a gap of 3mm - as this was the thickness of the material we decided to use. Worked much better for the prototype despite the fact it had many more intersections as the prototype didn’t have two seperate pieces on the same plane like this model did.

16

This was the final step in the prefabrication stage before we made the final design, and it was essentially running through each indivdual piece with a fine-toothed comb in order to ensure it’s performance as part of the final model. In this instance, we had to create additional surfaces in order to respond to any final weaknesses in the design. The space left by the trimming process to make the opening was very sheer and jagged, so we curved the ends of them in order to make sure the user remains comfortable inside the design. Also we had to add additional surfaces, as the really thin pieces were prone to snapping as we learnt in the prototype 2.0.

17

2nd Skin final design

ELEVATION

PLAN VIEW

ISOMETRIC

18

19

Fabrication Sequence

The fabrication sequence started out to be a difficult experience, as the model didn’t have any structural integrity until more pieces were added. We started with the shaded section as that was the bottom of the right side of the model, and assembled the rest of the pieces using that as a reference. The only concen was that pieces X1-3 (see assembly drawing) were not able to be added until the end, as it would make it physically impossible for other pieces to be installed afterwards.

20

21

Assembly Drawing

X1

Y1

X8

Y14

22

The assembly of the model is extremely straightforward. Each piece is labelled at an intersecting point, to hide the label after it has been fully fabricated. The pieces that are vertical are labeled X1-8, with the pieces that are on the same plane being labeled XA and B respectively.

The horizontal planes are labeled Y1-14, with Y1 being the very top piece and Y14 being the bottom. Y5-8 are the shaded pieces.

23

2nd Skin

24

25

Appendix

26

27