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DIGITAL DESIGN + FABRICATION SM1, 2016 M3 JOURNAL - SKIN AND BONE

LIZZY WANG AND MAY ALSANIA761029 / 743318

James Wentworth-Park + Seminar 2

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INTRODUCTION

Our concept for a sleeping pod was to PROTECT and create a BARRIER to protect one’s personal space, SUPPORT the head and neck area and thus allow the user to sleep.

We wanted to CONTOUR the design to the user’s body, mimicing the shapes of the body such as the triangle shape of the shoulders, and thus create VOLUME around the user’s head, shoulders and chest to shield this personal zone from surrounding environmental factors.

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DESIGN DEVELOPMENT

Added SUPPORT for the head and neck area:In order to provide better support so the user is able to rest their neck and head during sleep, we decided to add more structure around this area.

Further DISTINCTION between different sections and profiles in order to create a language within our design, (whether we achieve this through different colours, sizes of tubing, materials etc.) while still maintaining a uniformity and consistency

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Design development + fabrication of Prototype V.2

SUPPORT + VOLUME

We wanted to combine the supportive structure of the head/neck and also create volume around the shoulder and chest area in a cohesive way, using a uniformed language of geometric shapes based around the triangle.

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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

There are three main types of digital fabrication processes;

1. Two-Dimensional Fabrication or CNC cutting: This is the “most common” (Ko-larevic, 2003) fabrication method and involves a sheet that is cut in a two axises of motion. Eg. Plasma-art, water beam, laser beam

2. Subtractive Fabrication: This technique is limited to by axial, surface or volume constraints, involving the removal of volume from a ‘block’ of material through electric, chemical or mechanical processes. Eg. CNC multi-axis milling

3. Additive Fabrication: This method is an “incremental” (Kolarevic, 2003) process where the model is created in two dimensional layers, hence the term layered manufacturing. It is also referred to as solid freeform, rapid prototyping or desktop manufacturing. Eg. Selective Laser Sintering, 3D Printing, Laminated Object Manufacture, Fused Deposition Modelling, Multi-jet Manufacture

We employed additive fabrication in the form of 3D printing both in the proto-typing and fabrication processes of our design. Using the UP Plus 3D printer, we modelled the joints of our design using RHINO modelling software, converting the NURBS to meshes in order to physically print this element of our design. NURBS are used in digital modelling software to create surfaces including smooth curved sur-faces. Mesh modelling approximates these surfaces into polygons so they can be printed in the physical world. The 3D printing software further slices this model into 2D layers so the printer can print these models layer by layer using ABS plastic.

THE TRANSLATION FROM DIGITAL MODEL TO PHYSICAL MODEL

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Reading applied to design

How does the fabrication process and strategy effect your sleeping pod project?

The fabrication process is one where you discover the physical constraints that are put on your design. The digital modelling pro-cess is infinite in it’s possibilities, unlike the possibilities with physi-cal materials. Every material has its limits in term of workability, strength, shape etc. and thus the fabrication process inevitably had an effect on our design.

However, digital fabrication also opens new options for creating unique volumes using the various digital fabrication processes. The 3D modelling processes allowed us to create customisable joints so we were able to create the design that we envisioned. This therefore allowed us to create a unique project that uses uniquely designed components as created in our digital model.

EXAMPLE BATCH OF 3D PRINTED JOINTS

DIGITALLY MODELLED JOINT

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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

Design technology has helped to revolutionise the way designers and architects think about their designs, the way they are conceived, explored, tested and constructed. Though there are obvious constraints to current technology, it is accepted that these new forms of technology have aided designers to design in a way that was not previ-ously possible, creating unique designs that can be fabricated quicker and more ef-ficiently.

Three dimensional modelling is one aspect of design technology that has improved hugely in recent years. CAD modelling software has existed for numerous years, initially replacing the need for physical plans and elevations, allowing an architect to achieve this all digitally. The further innovation of three dimensional modelling through NURBS and meshes has allowed for the creation of smooth curved surfaces, using complex mathematical formulas not generally accessible to the average architect. It is these programs that allows professional architects, architectural students etc. to digitally model almost any design imaginable and analyse it in perspective. Though the trans-lation into the physical world from this digital space can often be difficult, the limits to modelling has become infinite and accessible at the same time.

The physical fabrication of design has also changed dramatically in the last few years. The entrance of 3D printing as an accessible technology allows for the printing of prototypes so these complex models can be tested within the real world. NURBS must be translated into meshes, the approximation of these smooth surfaces rather than just developable surfaces which is often required with other forms of modelling. These printer machines use complex axial movements, and though have their limitations, have changed the way we are able to realise designs in the physical world.

TECHNOLOGY CAN BE USED TO CREATE UNIQUE PATTERNS AND DESIGNS

3D MODELLING SOFTWARE USED TO PLAN AND EXPLORE DESIGNS

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Reading applied to design

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

Digital fabrication has both limited and extended our design in terms of size and material-ity.

We chose to employ the process of 3D printing to create the ‘joints’ in our design. Using ABS plastic, we were able to choose a filing strength, customise the size and angle of the joints used and create a whole range of unique joints that help to create a variation in the shapes. As stated by Kolarevic (2003), the digital fabrication process allowed for a “more fluid fabrication” in where we could create the specific physical shapes needed to construct our design. The material of the printed also allowed us to create strength and rigidity within our design

There were however several inherent difficulties with the 3D printing process that we needed to overcome in order to realise our design. These included “costly equipment and lengthy productive times” (Kolarevic, 2003) as well as physical constraints due to the processes of the printer.

THE 3D MODELLING PROCESS

USING 3D MODELLING OSFTWARE TO MEASURE LENGTHS AND ANGLES FOR FABRICATION

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PROTOTYPE DEVELOPMENT AND OPTIMISATION

MODELLING AND PRINTING JOINTS

CREATING ANGLES WITHIN THE JOINTS

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TESTING DIFFERENT WIDTHS OF TUBING

In order to optimise stability and design, we decided to use different diameters of tubing for different areas. This would also create different profiles for different sections of the design.

TESTING SIZE OF JOINTS

We needed to test the difference in size between the didgtal model and physical world model in order for the joints to fit perfectly into the tube;

On Average; Physical Model = Digital Model + 0.3 mm

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In order to add the ‘skin’ element to our skin and bone structure, we began trialling stock-ing material.

This will help to provide further COVERAGE and protection for the user, as well as tie all the elements of the design by acting as a CONNECTIVE.

TESTING THE ADDITION OF FABRIC

THE STRETCH AND TRANSPERANCY OF THE FABRIC

We chose this specific fabric; stocking material, due to its elasticity, strength and sheerness when stretched. This material therefore allowed us to use specially printed hooks to stretch the fabric to create the shape and coverage we wanted.

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TESTING THE STRENGTH OF THE HOOK AND FABRIC

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Sleeping Pod final design

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Fabrication SequencePRINTING AND CUTTING PROCESS

ASSEMBLY PROCESS

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FINAL ASSEMBLY PROCESS

BEFORE FABRIC IS ADDED

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Assembly Drawing

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SLEEPING POD

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