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DIGITAL DESIGN + FABRICATION SM1, 2015 M3 JOURNAL - PANEL & FOLD

NICHOLAS DEAN (699066) & RILEY WOOSNAM (639454) ROSIE GUNZBURG - SEMINAR 1(5)

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INTRODUCTIONM2 RHINO MODELLING

In Module 2, we explored the notion of personal space in terms of one’s vulnerability to exter-

nal stimuli and the subsequent ability for that individual to react quickly to an invasion of their

personal space. This concept then provided the basis for our design, whereby we designed

a defensive mechanism that protected the user from threats that suddently emerge from

behind them.

The 3-dimensional panels achieved through unique folds are designed to offset the users per-

sonal space out from their body, creating a secure haven when within the structure.

M2 PROTOTYPING

For M2, we produced a variety of different prototypes that looked at different 3-dimensional

panels and ways of joining them in succession. We explored how the placement of the fold-

ing lines contributed to smaller or larger protrusions out from the body, and what effect this

had on illustrating the users personal space.

Due to not fabricating a 1:1 or 1:2 model for the presentation, it was hard to convey the

structures full effect to the crit panel. From this, an issue was raised that through changing

the scale of certain elements within the design, the properties of those elements once fab-

ricated would completely alter as a result.

Prototype employing 2-dimensional panels

Prototype employing 3-dimensional panels Prototype illustrates the effect of panel size on extent of protrusion

DESIGN DEVELOPMENTINCREASING THE SCOPE OF THE DESIGN

3-dimensional fashion by Richard Sun

(Source: Pinterest)

Digitally fabricated t-shirt by The T-Shirt Issue

(Source: Pinterest)

Feedback from M2 identified that our design was very site-specific, with the entire design

revolving around the spine, and therefore was quite restricted in terms of its complexity.

After consultation with our tutor, Rosie, we explored ways in which personal space could be

amplified from the body

Using precendent studies as an aid, we

started to produce sketch ideas that illus-

trated a frame that sat on the shoulder for

the panels to branch out from.

Richard Sun’s wearable sculpture provided

us with the necessary proportions for the

frame structure that achieve an extended

personal space, whilst The T-Shirt Issue’s de-

sign gave us insight into the way in which

folded, 3-dimensional panels could gradu-

ally become larger in some section over

the body, and smaller at others.

For this particular prototype we wanted to experiment with widening the panels along the back by adding two additional columns either side of the spine.

Our logic behind this decision was that it may allow for the panels to trace up and over the shoulders as the design progresses, furthering the complexity and

area by which the structure covers.

Predominantly using white ivory card for our prototypes in M2, we decided to explore the visual effects of black optix card. Through prototyping we were

able to identify that black panels under lighting results in a very detailed and somewhat bold design, an aspect that was not necessary achieved to full ef-

fect using white card.

DESIGN DEVELOPMENT + FABRICATION OF PROTOTYPE V.2

The scale of the prototype created significant shadows, bringing out the unique folds that make up the 3-dimensional surface. By printing and connecting the panels in rows

of 3, we were able to mould the structure to the natural curvature of the back.

Kolarevic’s reading highlighted the direct link between conception and production that digital softwareenables. Throughout the design process, there is continual visuali-sation of that the idea may look like when produced due to the 3-dimensional nature of the systems on offer.

Leading architect, Frank Gehry, employs the use of 3-dimensional digital technology when desiging, as evident in his ‘Fish Sculpture’ in Vila Olympica. Gehry is focused on the notion of ‘translation’ that the digital software grants him, whereby a collection of points can be joined to create intricate surfaces, of which can be lofted to form volu-metric structures or products.

In terms of our own design, digital fabrication was employed through the formation of the 3-dimensional panels, whereby a mixture of cut and scored lines were applied to a 2-dimensional sheet with the desired shapes drawn. Once printed, we were able to fold the panels straight away and examine the prototypes characteristics and effects.

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?

READING RESPONSE WK 6

READING APPLIED TO DESIGN

The fabrication process had a direct influence on our design throughout the entire duration of the module. We were able to accurately communi-cate our ideas through the use of Rhino, using basic rendering as a means to create a life-like model of how the structure will sit on the body and what sort of visual effects it may illustrate.

Rhino also granted us direct access to the different forms of fabrication in the Fab Lab. The desired and most effective fabrication system we identi-fied was the laser cutter, which produced accurate cuts in a fairly short amount of time.

Once printed, the unique cuts and scores made by the laser cutting machine allowed us to fold the sheet of material into our desired shape, creat-ing the 3-dimensional triangular panels.

Immediately after the fabrication of the prototype, photographs were taken as a medium to examine the visual effects that the second skin creates.

How does the fabrication process and strategy effect your second skin project?

The aspect we felt was most intriguing in this particular reading was about the non-linear nature of innovation due to the presence of 3-dimensional digital software and systems of digital fabrication.

As stated in the reading, thinking, designing, fabricating and prototyping all become blurred and stages that now interact with one another. There is continual feedback throughout the design process during each stage, all of which influence

Reflecting on our own design process, we feel as though the most knowledge about our structure was gained through prototypes, whereby the influence of material and gravity came in to play. We can relate to the reading in a sense that we continually improved our design after fabricating a prototyping, there was always little tweaks to panels and notches to better the design .

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?

READING RESPONSE WK 7

“Mash-Up” exhibit at Nubik

READING APPLIED TO DESIGN

In accordance with the reading, digital fabrication allows for complex geometries to be printed and assembled using quite simplistic folds and notches.

Much like the “Mash-Up” exhibit sudied in the reading, we were working with unique geometries that required accuracy and precision during the digital modelling and fabrication stages of the design process.

Material properties was probably the largest implication for our design as we required a material that could be moulded to arch and curve along the back and over the shoulders. Our prototyping tuaght us that whilst optix card is visually aesthetic, when folded and manipulated it begins to show several creases and imperfections in the material.

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

PROTOTYPE DEVELOPMENT EXAGGERATION OF PERSONAL SPACE THROUGH SHOULDER SUPPORT

PLAN FRONT ELEVATION

As seen in response to M2 feedback, we proposed to design shoulder frames that acted both as a

mechanism to amplify the users personal space, and a support structure for the panels to trace along.

In line with the very triangular nature of the panels, we proposed to replicate the same forms in the

support structure. It would consist of 3 main vertical frames with smaller horizontal pieces that fix the

structure together through the use of notches.

INCREASED COMPLEXITY OF DESIGN

Made possible by the shoulder supports, the idea is that the spikes will trace up the back and then continue up and over the shoulders. This would be more

in line with our identified personal space, whereby peripheral visual acts as the defining boundary of what we are aware of within our surroundings. We per-

sued the notion of vulnerability and protection through the identification that the back is an area on the body where we lack awareness of what is occuring.

The design seeks to act as a defensive shell on the user, protruding out over the shoulder in line with the users peripheral vision.

PLAN FRONT ELEVATION

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FABRICATING THE SHOULDER SUPPORTS

For the shoulder supports, we initially progressed with our idea of a triangulated shoulder piece as it

seemed to conform to the nature of the panels.

After the prototype was produced, it was clear that the panels would not have a gradually curve to flow

over, therefore creating a disjointed design. This then led us to investigate Grasshopper, whereby we used

the waffle grid tool to create notches that joined the vertical and horizontal members.

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PROTOTYPE OPTIMISATION

PANELS FLATTENED PANELS FOLDED

During the prototyping phase of the

project, manipulated certain features

of the design to increase the visual ef-

fect and create complexity.

We employed variations in scale and

also length of the edges of the panels

as a way of making irregular geom-

etries around the shoulders.

OPTIMISING EFFECTS

15PANELS WRAPPED AROUND BODY SUPPORT MESH PANELS AND SUPPORTS ON BODY

Digital modelling provided the foundations for our design, allowing us to visualise how the struc-

ture will arc over the shoulders, along the shoulder supports.

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PROTOTYPE OPTIMISATIONMATERIAL EXPLORATION

Thoughout the length of M3, we fabricated a significant amount of prototypes that explored different materials. We did this as a means to examine the

visual effects that the individual materials offer.

It was noted that the panels look most effective in black, as the ridges within the folds appear deeper and therefore more pronounced. For the support

structure, we moved away from the boxboard as we did not want the element itself to draw the attention away from the panels, of which are the main

aspect of the design. Therefore, we opted to use clear perspex which proved very effective in creating a refined, yet non-obstructive support frame.

Black Optix Card Clear Polypropelene Boxboard Clear Perspex

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M2 INITIAL MODEL

FIRST PROTOTYPE

SECOND PROTOTYPE

PROGRESSION OF DESIGN

2ND SKIN FINAL DESIGN

FRONT ELEVATION SIDE ELEVATION BACK ELEVATION

PLAN

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ASSEMBLY DRAWING

Left shoulder panels (elongated)

Right shoulder panels (smaller)

Back panels

Right shoulder support (smaller)

Left shoulder support (larger)

2ND SKIN