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DIGITAL DESIGN + FABRICATION SM1, 2018 Illusion Jieru Xue

786395 Alison Fairly Group#2

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Contents Introduction

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Ideation

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Design

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Fabrication

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Reflection

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Appendix

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Introduction An pendant lamp was the chosen object of exploration for Section & Profile material system.

Understanding the logic of this material by abstracting the assembly of the lamp. The object becomes the basis of the development of the design of the second skin, with a predominant focus on personal space.

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1. Ideation

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Measured Drawings

A Elevation

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370 130 Plan

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Section A

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I linked the endpoints on the two arcs, then found the middle points and drew the perpendicular line getting the intersection with the arcs. Then measuring the distance from intersection points to middle point seperately and calculating the radius of the circles these two arcs belonging to.

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The object I chose to study is Pendant lamp from Ikea, as the volume and form of the lamp, I spinned it off by its conponents.

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Besides, in order to know the slotting joints for the pedals, I used two rulers, letting them be perpendicular to each other, then measuring the distence between each center of the slotting joints.

And the suppoorting structure(the two circular structures), I measured their radius. The supporting structure near the ceiling side is divided averagely into 8 parts. For the skeleton, I used a rope to measure the two arces as they are not on a spercific circle. Then I measured the length of the two ropes.

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Analysis With the supporting base at top and bottom, the skeletons are slotted to the base and the pedals are slotted to the joints on the skeletons. This can be seen as a basic group pf components in the system. The pedals rotates horizontally seven times, it becomes the lamp.

Top

Bend

Base

Rotate

Rotate Skeleton

Bottom Base

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Digital Model

Top View

Full Size Model

By tracing the photo of single skeleton and base with polyline and interpCrv tools in plan/front view in Rhino to get the 2D curves of the shape, then using the Planarsrf tool to get the surface and extrude the surface to get the 3D form. The pedal is created by the loft command with the curves at the same direction, then project the curves to the exist surface and trim the extra parts.

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Perspective

Digital Modelling Process

1. Trace the base with reference image(Polyline, InterpCrv).

2. Use PlanarSrf with the curves of the base then extrude.

3. In Front view, trace the outline of the skeleton with refer-

4. Same method as creating the base, extrude to get the

ence image.

polysurface of single skeleton and model the joint points.

8. Copy the pedal surface and rotate to adjust the angels.ww

5. Copy and also rotate to get the whole internal supporting

6. In front view and right view, put the reference

7. In right view, trace the shape of the elevation of the pedal,

structure.

images(elevation and section) and trace the shapes in right

then project the curve to the lofted surface and trim the extra

view then loft with the curves.

part with the curves on the surfaces.

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Sketch Model

Using the pedal shape as the basic unit in material system, transforming the slotting

One unit interlocking by itself.

Two units interlocking to each other.

Three units interlocking, top view.

Four units interlocking.

points as slotting grooves,digitally drawing the shape template.

Three units interlocking.

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Four units interlocking, looking from inside.

Starting to slot more units based on the four units module.

After slotting more units to four-unit module, inside view.

Based on three-unit module, interlocking five of it together.

Top view.

View from left side.

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Sketch Design #1

Front View

Experiential Drawing

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Elevation

In some situation, like in a crowded space/ void space, for example in a crowded tram/in an elevator. I feel the spatial invasion happens mostly while eye contact with the people standing close to me. This garment is designed to block the eye contacting with strangers. The sketch model of interlocking three units inspired me, the garment is rotating along the neck of the person.

Sketch Design #2

While I am walking alone, especially in the quiet street during night, I pay more attention to my back rather than my front. This garment emphases the back space, I use the fourunit module and the skeletons from the lamp as inspiration, connecting the two layers together.

Back View

Front View

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Sketch Design #3

Top View

Front View

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This helmet is specific for some public space.

Sometimes I feel nervous when there are people in surroundings, like library or cafe, so I design this helmet. The back and the sides near ears could be solid and the front could be transparent materials.

Reflection

In Module 1, we are given a simple object to study, analyze and reconfigure to understand the material system. The object I chosen is an lamp that using the method of Section and Profile. From the precedents in lecture, I understood Section and Profile is the system which either optimizes the single unit slotting to each other or flat sheets of materials by cuts to create volumes.

The lamp is based on the former one. By measure and model the lamp, I understood the position of slotting points can change a lot and needs more control in this system.

To start the ideation part, I reconfigure the different elements optimized the lamp, especially the shape of the pedal. Starting with that shape, I tried different ways of Section and Profile, like letting the single unit self-interlocking (from flat sheet to volume) and also several units connecting through slotting cuts to increase its volume.

Model detail

Sommer’s idea of a personal space was that I reflecting on myself, also reflecting on how I react to strangers daily. The space invasion happens mostly in crowd space also void space. Also the boundaries can constantly shift in different situation. So the three sketches I defined based on the reconfigured model focused on the void/crowd space (lift/ street/ library are all can be void or crowded in different timing), which can be worn in two modes by changing the facing direction. However, in this module, I haven’t utilized the sketch model I reconfigured deeply, mostly using the single units/ several units slotting together to each other, which needs to be defined further.

Two units slotting together

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2. Design

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Concept

BLURRING/ DEFENDING FEELING 1. Achieve the feeling of defending stranger’ spacial invasion by creating a “feeling”, rather than creating large volume.

2. Blur part of the eye contact for personal view and mode change.

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Personal Space Visualization

In elevator, we analyze the personal space while people standing near a corner. A person needs to have a sideway-distance besides her arm to strangers’ arm as she needs to turn her body also head around.

While the person stands facing to another corner, the personal space is along her body curves. Besides, as it may increase the eye contact with strangers (facing the door and standing besides a corner, mostly see others’ backs), the personal space is more important around the head.

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Sketch Design Development

Sketch from M1

Sketch Development #1

Sketch Development #2

From the M1 design concept, we morphed in M2 with two versions using the same rules of connecting and overlapping the single units, creating an effect of blurring the eye contact. We are interested to the personal space while people in the elevator. According to the research about how people behave in elevator, it is found that people may feel uncomfortable and prefer to stand at the corners and avoid eye contact as they are forced to be in an enclosed space with strangers.

Therefore, we put more attention on how to take the effort of corner to create a garment that could be worn in different methods along people’s position in elevator, coming up with the designs that have one side opener than the other side.

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Refined Sketch Model From the sketch model in Module 1, We still keep the language of the repeating the pedal-like units to achieve the effect of blurring, coming up with two different solutions.

Sketch model in Module 1

The first basic unit is like the pedal of the lamp, slotted together to become like a leaf by using fishing line.

The second basic unit is created by square gauze, also we used fishing line tied in its centre to make it to create three-dimensional form. By connecting the basic units with fishing lines/needles, it starts to create smooth volume/surface.

Refined sketch model of design proposal 1

Refined sketch model of design proposal 2

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2nd Skin proposed design V.1 In M2, we firstly drafted the overall form of our garment, which sits on the first half of head with one side covering eye and the other side exposed.

Plan

Elevation Rendered Elevation

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2nd Skin proposed design V.2 Using lines to make the square surface to twist then connecting them together to create a simple smooth surface.

Connection & Units

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Full Size model

Details of the garment surface

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Precedent Research MAME’s “GUNDAM CHIC” Maiko Kurogouchi

Transparency, Reflection, Lightweight, Connection

Description of precedent

This garment is designed by a Japanese fashion designer. Using clear plastic, it illustrates a sense of illusion by overlapping different units and adding pattern on the plastic. The special reflection of the clear plastic gives it more depth. The plastic is connected by similar transparent lines, and this kind of flexible joints help the garment to be flexible and lightweight.

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Precedent applied to design Material Selection We borrow the flexible connection method from that garment and using clear plastic to create a feeling of lightweight. Also, trying to keep the same kind of feeling : keeping distance but still gentle.

Clear Plastic

Connection Detail Pedal Unit

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Precedent Research ATMOSPHERIC REENTRY Maiko Takeda

Spiking, Keeping distance, Future sense

Description of precedent The artist Maiko Takeda did the series “Atmospheric Reentry� in which he made very conceptual kind of bags and hats which have a bristled shape by layering printed clear film, sandwiched with acrylic discs and linked together with silver jump rings.

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Precedent applied to design

From this precedent, we borrowed more about how to create an atmosphere to keep distance rather than creating a garment in a huge volume. Besides, using cold colors to emphasize the feeling of keeping distance.

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Design development - Version #1 In this design, focusing on the position and movements in elevator, we designed the garment with one side more open/ transparent, which is the side facing corner, the other one more stand-out and blurred(by connecting more units), which is the one next to strangers.

Plan

Elevation Rendered Elevation

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Prototype Testing in the elevator,during wearing the garment, I could see the outside from the more open side, and also when my head is down I could see floor too. However the most other parts are blurred. While I stand by different direction in the corner, my view sight is different.

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Testing Effects We try to set up point light in different directions, to show the clear characteristics of plastic and to give the garment more sense of clearness and depth. We also try to use different colors reflectors, combining light to give it more atmosphere in dark room/ normal light space.

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Reflection

In Module 2, we started with the sketch model we made in M1 and reconfigured and came up with two versions of design, then started in Rhino to control the geometry shape. In this module, we have chosen the concept and the personal space we wanted to work on, however we haven’t created solid design proposals, specifically we haven’t highlighted the difference of the open part and enclosed part. I think it was because we haven’t using Rhino as the main tool to build up our design, more roughly by hand making and assembling the basic units to see whether it was looked good.

For the personal space, we haven’t achieved the shifting modes of different situations in elevator, which was partly lack of control of the joint points and the connecting material (fishing lines), it relied on how tight the two pieces are tied together too much. And we haven’t expected to how many layers we needed to overlay to get the blur effect, so the garment was too transparent from outside, we used blue paint to spray it, which is also a big problem, the effect this garment achieved mostly relying on the color rather than its volume.

The spray paint is quite rough and also the connecting joints are not formerly controlled.

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3. Fabrication

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Design development Precedent Research

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 possibilities of creating volume if we combine the pattern with the shape of our pedals.

Tailored infill Architecture Association project, Robert Stuart-Smith Studio

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Prototype of the pattern of the project

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

M2 Design

M3 Design V1

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Prototype #Paper Except testing single sheet of pattern, we also try to connect more sheets together or roll single sheet itself with cable tiles stabilized 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.

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Laser cut Pattern Template

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We realized the material characteristics, especially the flexibility influence the outcome whether the pattern could be shown fully a lot. Silicone 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 each 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.

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Prototype #Plastic 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.

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Design Development

External layer #1(plastic)

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Middle layer #2(plastic)

Anchor layer #3(felt with interfacing)

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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 three-dimensional objects. There are various twodimensional 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 threedimensional model of the objects), which is able to input the real geometry of the physical object with the output of the digital information.

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

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.

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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?

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.

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.

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Reading applied to design Referencing from the lectures and readings, what is the implication of digital fabrication on your 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 able to use laser cut.

Pattern created using rhino, after test it is not worked well.

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Prototype development

After the test of different materials, 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 stretched 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 garment.

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 which surrounding the floral pattern.

This one is denser also more structural which is suitable as the internal layer.

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Prototype optimisation

Single element effect test

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Single element effect test

Proposed design effect test

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Prototype optimisation

Cutting felt with paper template

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Cutting middle plastic sheet with paper template

Cutting external plastic sheet with paper template

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Prototype optimisation

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LFW SS12, Craig Lawrence

Pattern created in Rhino

After making those two plastic 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.

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

Pattern paper template

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

Pattern cut using felt without interfacing to test

Pattern cut using felt with interfacing to test

Test different interfacing

Make comparison, choose interfacing type

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Prototype optimisation

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Anchor layer

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2nd Skin final design

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2nd Skin final design

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Fabrication Sequence

Use hole puncher to make joint points on plastic sheets

Connect joints with zip tile

Sew anchor felt layer to plastic sheets finished cut

Sew anchor felt layer to plastic sheets finished cut

Finish sewing

Start the process of assembly with U shape hair pins on body

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Assembly Drawing

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2nd Skin

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2nd Skin

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Reflection

In Module 3, the fabrication process starts. We have found the proper precedents to study, choosing to use the different patterns as the basic units.

However, at this stage we haven’t finished the design process, still trying to make prototypes with different patterns, also different connecting methods and materials. During the prototype optimization process, we decided to choose clear plastic sheets as M2, but we defined the zip tiles as connecting tool rather than fishing line as its controllability. During this process, we gradually knew the finial piece we wanted to create. Rather than first modelling in Rhino then fabricating, we started to control how much the pattern stretching, how tight the joints should be tied and which pattern is the most workable one. We were finally back to the veil precedent we searched before by Alison’s inspiration. In order to achieve the effect of partial blurring eye area, we add the pieces of floral patterns we made in the first design at the start of M3, also creating more volumes.

The final outcome is as what we expected before, comparing with M2, we have more control of the shape and also emphasizing the personal space in elevator more. However, although we used Rhino to create the patterns we wanted to test and using laser cut to help the effectiveness of test, due to the material, we were unable to cut the final pieces with digital controlled fabrication tool, which is the limitation. Also we haven’t used the 3-dimensional digital design tool to control the shape of the final pieces because of the complexity, the final design is limited in control of emphasizing body curves of the person who wears.

Cable tile is not as flexible as zip tiles, also it is obvious not easy to hide .

We have combined the floral pattern with the strip ones because it can help the plastic sheets utilizing the gravity of itself better, which was found during the tests.

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4. Reflection

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Reflection Digital design and fabrication is really an eye opening subject that makes me aware of the huge gap between the initial idea and the final built outcome. It makes me start to think more about the construction process and how to bring the form to reality rather than just modeling the structure in software.

Starting from analyzing simple object and referencing lots of precedents, we gained a better understanding of the section and profile material system which we are quite confused about at first.

When we move to M2 in which the most challenging problems appear, we found that the material we chose cannot be laser cut. The time-consuming cutting process really made me realize the important role of the digital fabrication in the process of transforming the drawing to building.

The final outcome of M2 was not satisfying, we did not wisely use the digital tool to guide the design and increase the efficiency of the fabrication process. However, it is still a good start for M3.

In M3, rather than using the material itself to create the volume, our idea developed a lot to the stage of using the cut pattern on a flat sheet to build 3D form. Detailing the structure was a long way. At first we kept the idea of connecting repetitive units, we tested several connection type but still could not find the proper one. The model ended up to be a whole piece covering the head. Another problem is that we found the cut pattern cannot be fully stretched unless we fix it on an anchor layer and force it to stretch. The effect that we expect will not be achieved unless including more layers. The testing process lasted to the final week. We had limited time to keep on exploring the pattern and design the edge detail. So the final model ended up to be a square piece fixed on the body. We only controlled the part covering the face. However, if given more time, we would definitely improve to make it respond to the body better.

The fabrication process was tough, we also see the constrain of the digital fabrication, which is that we have the limitation of material selection. Also when we try to send the pattern we made by rhino to laser cut, we were told that the distance between each line is too narrow to be cut so that we have to redraw the template, which I thought is one of the risk of the digital process.

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Precedent Analysis

Iris Van Herpen 2017 Fall Haute Couture

During the presentation of the final piece, Paul has referred this fashion designer, as our design is lack of the control of the relationship between the body curves and the volumes that the plastic sheets created. It was one of the most limitation of our design, we haven’t considered or in other words it was unable to control the form of the parts covering body as we haven’t adjusted the pattern cut to suit the body curves. The work from this precedents is fully controlled this part, which I think is by the cut direction and also the sewing methods of each sheets, besides its material is more formable comparing with plain plastic.

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5. Appendix

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Credits CREDITS Page Cover 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50

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Appendix

Enric Miralles,Carme Pinos, 1988/1991, “How to lay out a croissant� El Croquis 49/50 Enric Miralles, Carme Pinos, En Construccion pp. 240-241 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-Crick.

Cheng, R. 2008. Inside Rhinoceros 4 / Ron K.C. Cheng. Clifton Park, NY : Thomson/Delmar Learning, c2008.

Sommer, R. 1969. Personal space : the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J. : Prentice-Hall, c1969.A Scheurer, F. and Stehling, H. _2011_: Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 _4_, July, pp. 70-79 Asperl et al, 2007,Surfaces that can be built from paper / In H.Pottmann, A. Asperl,M.Hofer, A.Kilian (eds) Architectural Geometry, p534-561, Bentley Institute Press Kolarevic, B 2003, Architecture in the Digital Age - Design and Manufacturing /Branko Kolarevic.

Spon Press, London Marble, S, 2008. Building the Future: Recasting Labor in Architecture/ Philip Bernstein, Peggy Deamer. Princeton Architectural Press. pp 38-42 Rifkin, J 2011, The third Industrial Revolution. Palgrave Macmillan.pp107-126

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