Digital Design and Fabrication Portfolio Journal

DIGITAL DESIGN + FABRICATION SM1, 2016 The handshake

Timothy Tan Sing Yee 783046 Sia + Group H

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0.0 Introduction 1.0 Ideation 2.0 Design 3.0 Fabrication 4.0 Reflection.

5.0 Appendix

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0.0 Introduction Personal space, what defines this space, what are it’s boundaries and how do we express “presonal space” in our daily lifes. This are the questions the subject make me ask myself and the process of this journey in representing my own personal space.

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1.0 IDEATION

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Measured Drawings Object: Foldable Umbrella

500mm

Measurement Method: The foldable umbrella was measured using a protractor and a rulers. The diamension and angles were taken physically to ensure accuracy.

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PLAN Scale 1:5 0

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The recorded angles and diamension were applied in drawing the section. Triangles were formed to find the diamension of the umbrella that could not be measure by a ruler using the pythagorean theorem method.

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Analysis Pin joint 1

The foldable umbrella has a triple-folding skeleton with a total of 8 arms. On each arm it has 9 joints which helps to faciliate the opening and closing of the umbrella. This helps the easy keeping and storing of the umbrella.

The foldable umbrella has two, four-bar linkages. For the first linkage, when runner is moves upward it becomes secured by the latch causing the angle between link 1 and 2 to decrease, in turn causes both four-bar linkage to collapse toward each other.

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Middle tube Latch Pin Joint 2

Pin Joint 3

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FOUR- BAR LINKAGE DETAIL PART 1 Scale 1:1 Pin Joint 4 Pin Joint 5 Pin Joint 6

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Pin Joint 8

The pin joints act as a fulcums in which the links are able to move in unison.

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As the angle decreases in the first linkage so does the second linkage. Thus both four-bar linkage straightens together and collapes. This extends the arm outwards and is held together by the tensions due to the force applied on links 3 & 4. This tension also help keep the fabric covering the umbrella to be firm against the rain.

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FOUR - BAR LINKAGE DETAIL PART 2 Pin Joint 5

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Digital Model 1.7 Digital model: Umbrella

TOP PRESPECTIVE

BOTTOM PRESPECTIVE

The umbrella was modelled first by it middle frame, arm frames followed by the fabric cover.

SIDE

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1.7 Digital modelling process:

The process in which the umbrella was done was by creating 1/8 of the surface and 1/8 of the frame and doing a rotate duplicate to create the full model.

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Sketch Model 1.8 Volume: Reconfigured Umbrella (Skin and Bone)

Material used was thick paper and 3 treads.

1. The paper was cut out into 2 strips 2. A tread was inserted through holes at both ends of one strip of paper, thus creating the first “skin”and “Bone”.

3. The process was repeated for the second strip and thread 4. The last tread was inserted through the center of both paper strips, and tired to the middle of the first and second thread

The sketch model was based of the top frame(bone) of the umbrella and it’s fabric cover(skin).

By replicating this frame on two sides and using a different format of the system, I was able to create this model. The strings acts as the skin (lateral force) and the hard paper as the bone(compression force). With both forces working together, the simple model was able to stand up by itself and was able to be plaes in different manners.

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Sketch Design #2

String attached to the hand causes movement of the spikes

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REFLECTION The introduction from this subject was interesting and challenging, it opened ideas and concepts of how the 3-different systems work.

Looking back at this module that key take away from me were to understand the basic systems in every item, the items speciation and learning to replicate the systems into the other design that can relate to what we were studying.

In Sommer’s Personal space (Sommer, 1969) said that humans have multiple kinds of personal space modes. Interpreting this reference book, it made me realised that the scale and size of objects that interact with people can affect people’s personal spaces, e.g. a 3-meter chair vs a 4-meter chair and how many people would want to sit on the chair, in the concept would affect the project later on.

I felt that the sketch model had potential to be developed into the next project however when transiting to the ideation an improvement was to develop on representing my ideas visually with more clarity than what was produced in the m1 journal.

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2.0 DESIGN

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Refined Sketch Models and Material Experimentation Ivory card was laser cut and joined at particular corners to test the effects of tension in the bone structure on the skin.

Using plastic from disposable food containers and hairties, the initial idea was explored and it was

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found that these materials

This experimentation using ivory card and elastic bands explored how a model can fit onto the body. Using the bent ivory card and elastic band to join the two ends, a bracelet was created which can be conveniently worn around the wrist. This experiment eliminated the use of elastic bands as they were proven to be too stiff.

Polypropelene was laser cut and joined at each end using thread to create a parachute-like structure.

The various threads were all connected in the centre to allow a singular force to move the entire structure. Through this experiment, the use of thread was eliminated as it was not elastic and too thin..

The Handshake According to Sommer’s Personal Space (1969), the space that surrounds a person can be understood through two distinct characteristics physical and emotional. Using these principals, personal space is explored in the following design proposals through those certain characteristics applied to a handshake.

The handshake is understood to have originated as a gesture of peace by demonstrating that the hand holds no weapon. Shaking with our right hands is not simply because most of the population is right-hand dominent, but partly because shaking with the right hand was initially a signal to foes that we are not armed.

The purpose of the handshake is to convey balance, respect and equality.

Through the physical gesture of a handshake, a person is welcoming another into their personal space, sharing positive emotional feelings such as friendship, trust and solidarity.

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2nd Skin proposed design V.1

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This design proposal is coming up from our sketching design which uses the string as skin and does the tension. And instead of avoid strangers and keep personal space, we try to open part of our personal space to show our friendly. And in many culture shaking hands is the most common way to be nice to strangers, most of people in the world use their right hand so we put the design focus on right hand side. The physical model is for testing the idea of changing volume as arm moving. When arm is down the frame is standing there and creating the volume, but as you shaking hands the arm goes up and the string does tension and pull the frame down to show the friendly.

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2nd Skin proposed design V.2

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This design proposal was inspired by the mother hen gathering chicks, that the mother opens her wings to indicate to the chicks that they are welcome into her safety, in addition also like the peacock opening out to attract a mate, the idea from this was that an extended skin would created that form of a extra edge and space of security to welcome attract people into the arms of the person, into their personal space.

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Precedent Research #1

Prince Philip Science Museum, Spain Designed by Santiago Calatrava Name of precedent and designer

What is the concept of the precedent? [Maximum 5 key words]

Rib cage connected through the centre by a singular spine

Description of precedent The architecture of this science museum in Spain explores a bone structure in which each vertical, parallel element is connected to a horizontal perpendicular structure which links the whole building together. This interesting form can be manipulated to fit around the human body, in which one connection to the body links the rest of the system to it.

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Precedent Research #2 Winde Rientra’s 11:11 Collection Name of precedent and designer

What is the concept of the precedent? [Maximum 5 key words]

Arm tunneling through perpendicular fixture

Description of precedent These fashion designs explore the skin and bone system and how it fits on the human body.

By using timber frames and thin thread, they have developed a very stable and well balanced structure which accomodates to arm movements.

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Precedent Research #3 The Domino Effect Name of precedent and designer

Chain effect, singular controller What is the concept of the precedent? [Maximum 5 key words]

Layering of different elements over each other Description of precedent The Domino effect, which originated from the ‘domino theory’ in US politics in 1954, can be metaphorically or physically understood as the chain reaction of events that occur after the movement of an initial controller. The term is best known as a mechanical effect, and is used as an analogy to a falling row of dominoes. As each domino falls, it overlaps the following piece, causing a strong pattern which is initiated by a singular piece to which a force is applied.

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Design development - Version #1

Front view when arm down

Back view when arm down

Front view when arm up

This version is developed based on Proposal 1 which turns off the bones structures when the person is shaking with someone else. The bones on the body part is designed for tieing with the skin. So as show in the model, the string pulls the frame down when arm goes up that means it works in tension.

Back view when arm up

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Top view when arm down

Isometric when arm up Isometric when arm down

The other frames around the body works as the balance of the whole structures and easier for people to wear it. The idea of the frame and skin comes from the president our group searched which is Winde Rientra’s 11:11 Collection. The string ties the bones together.

And relate to personal space it not just changes arm when you shaking your hand. It also keep the person in a certain distance to make the wearer feel comfortable and that is the minimum personal space 46cm of most people. The frame at heart part works as the protection of the most important part of our body and make it easier to tie with the frame at bottom.

Top view when arm up

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Design development - Version #2

Front view when arm up Front view when arm down

Back view when arm down

This version is developed based on Proposal 2 which opposite comparing with the version #1, when the arm is opening the bone structure is open and gives the strangers the signal to come.

This version remains the part of bone structure at the same place and it works the same aspect as it does in Version #1. It also keeps the minium distance from strangers to your personal space.

Back view when arm up

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Isometric when arm down

Top view when arm down

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Isometric when arm up

Top view when arm up

In this design used all of our precedent studies. The bones around person’s neck are mainly for wearing consideration and easy to connect different part together. Comparing this one with Version #1 , it has more structure members at the back of person that remains more obvious personal space. Also if it is possible, at the back structure can try moire effect to keep larger personal space through version.

Prototype The prototype was formed using Design development 1’s design concept, the aim of the prototype was to make feasible the movement of the panel using the fab lab and understanding how the different material can work together to follow the intended system of a skin and bone. The bone is made out of polypropylene and plywood giving the structure flexibily and rigidity at different points.

The plywood is glues and connected using elastic strings.

Prototype in its “rest� position

Elastic strings are attached, connecting to the different bone panel creating a joint system.

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Testing Effects The effect we wanted to acheive was the moire effect, using stocking we were able to the get very intriguing pattern that would seeming created a welcoming effect to the person curiousity. Using a back light we were also able to enhance the visual aesthetic of the 3 moving panels

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REFLECTION

Module 2 This segement was the start to interesting period which allowed us to work in a group. Working as a team, getting together with different ideas was a challenge but ultimately was an interesting process where all pitched in ideas to show our work.

The idea of personal space in the form handshake was our form of expanding upon the type of personal space, while fulfilling physical and emotionally factor (Sommer, 1969). We were trying to achieve a positive intrusion in someone else personal space.

From the precedent research, we were given a rough idea of the type of forms that could be explored. The Winde Rientra’s 11:11 Collection and domino effect studies were mainly use to give form to the end prototype which combine the 2 together.

From (Scheurer, 81 _4_, July) we found that abstract materials was one of the ways we could move forward by experimenting our ideas on different material, comparing the strength and weakness of each material and which one would ultimately be used for our prototype.

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3.0 FABRICATION

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Introduction

These images of the M2 model show our system in rest (left and middle) and action (right). Through this design, the idea of skin and bone has been clearly understood as a system with tension and compression has been created.

There are two main issues which need to be resolved through the process of M3: 1. creating a flexible system that allows the elbow and shoulder joint to bend and move around 2. Finding a position for the tensile force which opens up model, which is independent of a string being attached to another part of the body (such as tied to waist belt) Furthermore, throughout the M3 development process, the design should be developed to represent a welcoming model, alligning with the concept of inviting a third person into your personal space when shaking their hand.

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This sketch has been drawn to explore whether a balance can be created for the model through extending it onto the torso. By doing so however, it does not comply with our personal space concept which focuses on the hand-shake and welcoming a third person into your personal space when you extend your arm out.

This sketch explores the potential curved shape of the panels to create a more inviting design, in comparison to the solid, rigid nature of the plywood used in M2.

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Design development + fabrication of Prototype V.2

This prototype was created to test a self-mechanised open and close function for the base.

It can be slipped onto the arm and opens according to the upwards movement of the arm.

The design panels can be slipped on into the slots created on each ladder which simulteneously open as the arm moves up to shake a person’s hand. However, the issue with this design is the rigidity of it as it does not allow for flexible elbow movement. Furthermore, the large number of individual elements adds complexity to the design which can be impractical to model using polypropylene and lazer cutting.

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This design was too rigid and did not provide enough flexibility which would allow for movement through tensile forces by the arm. Hence, it is not further developed as the base structure. However through this, it has been understood that there needs to be a strong base which controls the mechanism.

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?

The process of digitally designing a concept on software and then fabricating it has enabled design to reach a highly advanced level. Frank Gehry’s design for the Fish Scuplture found the need to produce a digital software which would be able to visually and physically fabricate a complex structure. This technological development has allowed for precision in both fabrication and assembly, regardless of how complex the design may be.

A physical model allows for a much greater experience whilst designing, in comparison to a ‘flat’ on-screen model produced digitally. It allows one to understand the material properties and functional mechanisms more accurately and in greater detail.

Many technologies have evolved which allow for physical models to accurately depict your designs. Subtractive processes such as laser cutting and CNC cutting allow for various materials to be accurately cut out of a solid section. Additional technologies such as CNC folding, explosion forming and injection form allow for transformative procedures where you are able to bend, fold and carve out your required designs.

Furthermore, 3D printing systems can today readily carve and print out specified models through the layering construction of material, allowing you to physically fabricate your design to exact precision.

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

Much like a ‘pattern of points’, which is a technique used by Frank Gehry in replicating his physical model digitally through recording certain points on a prototype, our design also uses the physical construction of a base form to further develop it on Rhino for better visiual representation.

This process of reverse engineering allows the digital model to be more accurate, whilst the physical model is easier to use for testing tension and compression forces of the skin and bone system.

Laser cutting has been used in the experimentation and final model construction process for the fabrication of our model. For our design specifically, laser cutting is an essential tool due to the curved panels which build onto each other. It provides a cleaner and more viable option to cut each arm panel. Moreover, it is also necessary to insert creases for the base, as there are many folds within the base which work to control the skin and bone system. This method of two-dimensional fabrication burns through the polypropylene to create the desired shape, which we then have manually joined together using elastic string as the skin element. Through laser cutting processes, we have been able to use polypropylene as it is can be accurately cut and folded. This flexible plastic allows easy movement when tensile forces are applied to it. The translucent nature of the material enhances the three dimensional effect when viewed by the second person shaking the hand from in front.

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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?

Digital softwares have narrowed the gap between representation and building, allowing for ‘hypothetically seamless connection’ between designing and construction. Architects today employ various digital processes such as 3-dimensional modeling and visualisation, generative form finding, structural and thermal analysis and scripted modulation systems.

An exmple of a recent shift due to digital technology is the development of CAD. This highly developed digital software has replaced the use of drawings with a parallel rule and lead pointer, allowing 3D computer models to be printed into whole or partial construction parts.

Furthermore, curved surfaces are often very complex to create in comparison to flat ones. However, the process of tesselation, which is the ‘collection of pieces that fit together without gaps to form a plane or surface,’ has allowed extensive surfaces with curved natures to be fabricated. Through heirarchically arranging simple layers into successive series and patterns, complex curved forms such as the BMW Museam facade, Munich Germany, have been successfully designed and created.

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

A digital modelling process using Rhino has been extensively used in design today to create complex and accurate designs which can later be printed, exemplified in the ABS plastic Kamermaker, Amsterdam.

In our design process, we have broken up the individual 3-dimensional components and digitally modelled them on Rhino, to understand and visualise the individual characteristics of each element. This can then be broken down into 2-dimensional sections which is sent for laser cutting on a polypropelene material, allowing for more accurate cutting and folding results to better construct our model. Without the use of Rhino our process of construction, the final model would not be accurately cut anf fitted, potentially resulting in failure due to lack of movement from tensile forces.

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Prototype development

This prototype was created to experiment with how the panels will be attached to the base. Using a sketch paper model, small slits were cut into the base, through which folds from the panels can be inserted. Due to the malleable nature of paper, the crease created at the fold works well to move the panels up and down according to the tension forces.

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Prototype optimisation - Base system This prototype was a tester for the base of the overall system. Using polypropylin and lazer cutting, a flexible model was created which can be worn on the wrist and also wrap around the arm, where it can control the panels which will be attached within the base system. This concept is successful as it solves the issue of allowing a bend at the elbow, which has been achieved as the arm wrap around elements are not dependent upon each other and can be manipulate on either the forearm or bicep.

A base was created using a single piece of polypropelene, in which a slit pathway was tested for the panels.

When working with polypropelene, a slightly stiffer material to paper, the creases created in the panels resulted in the movement of panel positioning each time they were forced into tension, and hence the system failed. So instead, the base concept of wrapping around the arm using elastic will still be used, but with a different mechanism for the panel movements.

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Prototype optimisation - Panel effect design and fabrication In M2, our prototype had very linear, straight cut panels which opened up to invite a third-person into one’s personal space. However, its rigidity contradicted the intention of creating a friendly 2nd skin which was inviting for anyone that approached you for a handshake. Hence, we decided to explore curved surfaces which open up in 2D and 3D form.

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Through overlaying various cut outs and drawings, we decided to work with two curved surface shapes to add a more 3-dimensional effect to the open panels.

We decided to use polypropelene as the base and panel material as its flexibility and allows it to open and close with minimal tension. Moreover, its transparency creates an appealing effect which, when combined with the pair of curved shapes used, will attract a third person into one’s personal space when shaking their hand.

Fishing wire has been used to cause tensile forces to act on the polypropelene surfaces in order to create a 3-dimensional effect.

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Prototype optimisation - Connection points and movement mechanism

Based on the compression of the polypropelene, which acts as the bone, the elastic, which is the skin, creats a tensile force when the finger stretches out to shake the third person’s hand. Fishing wire is used as the primary mechanism which wraps around the finger and will be triggered with the hands movement. The elastic wire facilitates the movement and maintains the bone’s structure around the arm.

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2nd Skin final design - Arm down

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2nd Skin final design - Arm up

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Fabrication Sequence

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Assembly Drawings

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2nd Skin

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2nd Skin V2

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3.0 REFLECTION Progressing from module 2, there were still many design constraints in designing the product. The consistent problem faced was applying tension in moving the object and the material used.

While the current design was an improvement from the previous design and there where difference technics explored other method of movement other than to anchor the tension point at belts or on the jeans. The problem solving was quite the challenge yet it shows that we simply were not thinking hard enough before we found the solution In the module, we were told to do constraint or restriction to help reducing the amount of item we planned for the model also help generate improvement to the model which we took advice from.

While learning about the different technique of fabrication, we chose to continue to use the fab lab laser cutting machine. Reason being we could try out various shapes still without using other methods. In which we were able to learn to for 3D shapes for our model later on.

Overall though the comments given were that we did not utilise rhino as a tool fully, I felt that in our process of trial an error for physical prototyping was the product of the basic rhino modelling the group did at the start In addition we learn how the material worked physically, something that rhino could not do for us.

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3.0 REFLECTION Over the course duration DDF has been a very interesting and beneficial journey for me.

Working as a team, getting together with different ideas was tough, it helped me learn more about myself and certain skill in which to push or pull in your own ideas into the group design. Learning to deal with decision not going your way and being humbled by the fact that the other group members’ ideas worked better than yours when initially you though that your ideas were better.

For doing skin and bone, the concept and how it related back to the system we were building was quite hard to grasp, to able to fit a concept and idea of a system that depends and move according to one another like a domino and learning to overcome it was satisfying.

(H.Pottmann, 2007) architecture geometry also help to grant an idea of how the shape could have improve granting volume to our flat prototype While the planning and production that we did was quite different than what was expected, we relied more on physical modelling rather than digital modelling and looking back some of the positives was that we were able to see how the systems works in real life understanding the constraints of the materials, how length or thickness affects how a material is able to perform.

In addition, we could see the prototype failures and learning how to improve from them. The negative of relying too much on physical prototyping was that we slightly neglected the fact that digital models could be use in a manner that could have given an idea of the placement of the model on the body. How more volume and shapes could have been explored inside rhino in which we could try out.

The constraints of rhino were that it did not provide a physic engine that could display how the system or effect would look or work. However, considering how rhino was beneficial to us was that it gave us a general idea of what the model would look like.

Rhino assisted us in creating the components of polypropylene in which it gave us the ability to etch or half cut items to bend and to laser cut the shapes out, in addition it gave us the ability to unroll shape thus allowing the process of being able to make volumes in our designs.

However when I read lost in parameter space (Scheurer, 81 _4_, July) we use CAD in terms of the fact that we have full awareness of the materials used how it reacts and how it able to perform, in context of which we at that point of time was unable to know. Thus using CAD/rhino without having that function of how material would react inside would have been quite redundant thus the usage of physical prototyping more than digital modelling In term of effectively using rhino as a team, some key points that we could have utilized properly was in making decision or communicating ideas, there were times that we did not understand which part belonged to which system and what were shapes and specifications of the components, in which could have been easily communicated online through rhino and by using coloured layers to help show which parts belong to which system.

Overall the project has be a enjoyable journal for all of us.

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5.0 APPENDIX References H.Pottmann, A. A. (., 2007. Architectural Geometry. s.l.:Bentley Institute Press.

Heath, A. H. D. &. J. A., (2000). 300 years of industrial design : function, form, technique. s.l.:New York : Watson-Guptill, 2000..

Scheurer, F. a. S. H., 81 _4_, July. Lost in Parameter Space?. s.l.:AD: Architectural Design, Wiley, .

Sommer, R., 1969. Personal Space. Englewood cliffs: Prentice hall.

Architecture in the Digital Age - Design and Manufacturing /Branko Kolarevic. Spon Press, London, c2003 Digital fabrications: architectural and material techniques / Lisa Iwamoto. New York : Princeton Architectural Press, c2009.

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