Ddf landscape m3 journal jieruxue 1

DIGITAL DESIGN + FABRICATION SM1, 2016 M3 JOURNAL - Illusion

Jieru Xue & Yutong Wei 786395& 860776 Alison Fairly Section and Profie#2

1

Introduction

2

Design development

Introduction After module 2, we identified a few key areas of improvments. We focused more on creating a sense of keeping distance in the lift, which led us to choose clear plastic as the material causing the difficulty of using the digital fabrication. Also, we haven’t shown the personal space we want to emphasze enough in the prototype. Therefore, in module 3, we mainly focus on how to combine digital tool with our design and to show the difference between the more communical side and more personal side in our design. We explore further by making various prototypes and try to achieve the form by simply cutting one single sheets of material.

3

Design development Precedent The design motivation of M2 still involves the basis of our idea at start, having single unit of the pedals connected to each other to create volume.

Before each pedal is more flat at the surface, it could only achieve the effect of blocking/opening views by adding/removing number of units, after we saw this project, we think there could be more possiblity of creating volume if we combine the pattern with the shape of our pedals.

Tailored infill Architecture Assosiation project, Robert Stuart-Smith Studio

4

Prototype of the pattern of the project

Pattern#2

Pattern#1

We rolled the flat pattern sheets(#1) to create a simliar shape as the pedal in M2, by repeating it to create a denser side. Using Patter#2, espectially the floral shape to create a more open side with a feeling of keeping reasonable distance.

5 M2 design

M3 design V1

Lasercut pattern template

6

Except testing single sheet of pattern, we also try to connect more sheets together or roll single sheet itself with cable tiles stablized to test if the gravity or additional force could help the cutting pattern create more formative structure . Besides, the paper is easier to form, after bending several times, it could create a volume with all cutting patterns shown properly. However comparing with plastic, but it lose the flexibility, also could not create smooth curves but with folding edges.

Prototype #Paper 7

al

We realized the material charactoristics, easpecially the flexibility influence the outcome whether the pattern could be shown fully a lot.

Silincone could be really flexible, and also transparent has the same effect as plastic. So we used Rhino to model a mould with pattern on it first, then cutting eachh sheet with the printing template first, then poured the silicone mixture.

After it cured we got a silicone sheet with pattern on it. Although it is really flexible, it is difficult to control the influence of the gravity.

8

Prototype #Silicone9

After testing different material, we were back to the clear plastic, it is more flexible than paper also more structural than silicone. Also the reflection is ideal to express the feeling we want to achieve.

10

Prototype #Plastic11

Reading Response Wk 6 Architecture in the Digital Age - Design + Manufacturing/ Branko Kolarevic, Spon Press, London c2003 The digital revolution of architecture since the last 90s has improved the complexity of the curvilinear surfaces in contemporary architecture through the different digitally based fabrication processes. It allows the accuracy of physical element manufacturing from design.

1. Two-dimensional fabrication: this method uses the machine to cut the flat sheets of material into the designed shapes, through the assembly of these flat pieces to build the threedimensional objects. There are various two-dimensional fabrication processes like laser cut, plasma-arc, laser beam and water jet.

2. Three-dimensional fabrication: this method uses the machine to cut material as a whole piece to create united pieces.

There are mainly three methods: subtractive fabrication (the removal of the specific volume of the solid material), additive fabrication(a layer by layer adding process) and formative fabrication(reshaping and the deformation of materials).

3. Three-dimensional scanning: it is a reverse engineering process, from physical to digital by contract method (tracing surfaces of the objects) and non-contract method (a laser light scanning and creating the three-dimensional model of the objects), which is able to input the real geometry of the physical object with the output of the digital information.

12

Reading applied to design

This symmetrical pattern is easier to stretch out than others.

We use laser cut to fabricate the different patterns, which let us test the ability of stretching of each pattern quicker.

This one needs more forces to stretch it in different directions to show the two kinds of pattern.

13

Reading Response Wk 7 Digital Fabrications: architectural + material techniques/Lisa Iwamoto. New York: Princeton Architectural Press c2009 By narrowing the gap between drawing to building, digital fabrication enables architects to have a preview of the final outcome of their work and expend their role to include the construction-management process, for the time-consuming traditional fabrication process has been significantly optimized with the development of digital fabrication. It is now possible for designers to quickly make a lot of prototypes to physically test different aspect of their projects using digital tools. The innovation helps greatly to blur the boundaries between thinking and doing, design and fabrication, prototype an final design.

Digital fabrication also allow to build 3-dimensional building from 2-dimentional materials, as the standard materials typically come as sheets. By cutting sections from flat material and assembling pieces, form with smooth curve which is far more complicated and expensive to construct can be build.

14

Digital Weave University of California, Berkeley/Lisa Iwamoto, 2004

The structure was constructed from several plastic woven ribs fabricated by a computer controlled water-jet cutter. The ribs slot into a wooden floor.

Digital fabrication provide the required precision for each piece to fit smoothly in place.

Reading applied to design

We mainly used the two-dimensional digital modelling in Rhino to create the patterns. As our design relies on the controlling of material itself more to create the volume. Although we did more physical tests and many prototypes, Rhino allows us to change the pattern easily and create a template for us to cut accurately even the plastic is not ablr to use lasercut.

Pattern created using rhino, aftr test it is not worked well

15

Prototype development After the test of different moterials, patterns and the different methods of connecting each unit with patterns, we thought we haven’t utilized the pattern itself enough, but using the material more. Therefore, we tried to create a whole sheet with the pattern that could be stetched most successfully repeating. Also filling the gap between each pattern with the continuous net pattern. Then connecting every two facing floral patterns with cable tiles to let them fully stretched. After we creating a large piece, the gravity of the material worked well on let the pattern to stretch vertically. So we finally decided to use the single large piece to create the garmen.

16

17

After having the single sheet with the main patterns, we found because of it stretching well, it became too open for each side when it wore as the veil. So we decided to add more layers. This is the net pattern ehich surrounding the floral pattern. This one is denser also more structural which is duitable as the interal layer.

18

19

Prototype optimisation

We decided to borrow the pattern from this fashion design, but in black felt to show the pattern in the external layers better.

LFW SS12, Craig Lawrence

After making those two layers, we found we need to have an anchor layer to let the pattern to stretched diagonally. We need a layer more stable still keep the same language with the two plastic layers.

20

Pattern created in Rhino

Patten paper template

Iron interfacing at the back of felt to make it more formable

Test different interfacing

Pattern cut using felt without interfacing to test

Pattern cut using felt with interfacing to test

Make comparison, choose interfacing type

21

Prototype optimisation Prototype optimisation

22

Anchor layer

23

Assembly Drawing

External layer #1(plastic)

24

Middle layer #2(plastic)

Anchor layer #3(felt with interfacing)

25

2rd Skin 2nd Skin final design

26

27

2rd Skin

28

2nd Skin

29

30

Appendix AA DLR. accessed April 30th. <http://drl.aaschool.ac.uk/portfolio/225-3/>.

Style Bubble. accessed May 4th. <http://stylebubble.co.uk/style_bubble/2011/10/love-lfw-craig-lawrence-by-thesea.html>.

31