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DIGITAL DESIGN + FABRICATION SM1, 2016 M4 JOURNAL - SLEEPING POD

Hadar Slonim(699088)

James Park, Tutorial 2

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Contents: (below is the basic requirements and you are free to add more or change to suit. Throughout the journal cross reference relevant precedents, lecture materials, required readings, independent research & personal design work)

1.0 Ideation 1.1 Object: Measured drawing set of selected object. Image/s of digital Rhino model of selected object. 100 words describing how object was physically measured + later modelled in Rhino 1.2 Object + System Analysis: Analytical sketches/drawings abstracting the rule/material logic in the found object 1.2 Volume: Images of developmental sketch model produced after Making workshop ( reconfigured material system). 1.3 Sketch design proposal: Include all your 3 ideas of your second skin

Integrate images with approx. 200 words of critical analysis describing the work of this module & reflecting on key themes raised in M1 reading questions

2.0 Design (list your team’s member name on this cover page)2.1 Design development intro: 100 words that outline what aspect of your phase 1 proposal is taken forward at this stage? 2.2 Digitization + Design proposal v.1 : 1 or 2 ideas of your second skin ideas as modelled in Rhino using the digitized mesh of the body as a base. Plan, Elevation and Axonometric drawings required. Describe each proposal summarising and rationalising design decisions2.3 Precedent research: Images + Concept Diagrams2.4 Design proposal v.2: Two version of design showing digital development in Rhino and exploring key words from chosen precedentPlan, Elevation and Axonometric drawings required for each proposal . Describe each proposal summarising and rationalising design decisions2.5 Prototype v.1+ Testing Effects: Document prototyping one segment or fragment of design. Describe desired effects of your second skin in relation to personal space + Include photographic sequence testing these effects.

Integrate images with approx. 200 words of critical analysis describing the work of this module & reflecting on key themes raised in M2 reading questions

3.0 Fabrication (list your team’s member name on this cover page) 3.1 Fabrication intro: 100 words that review your design after M2 If you have split from the group you will need additional text + images to communicate what concepts or ideas you have taken from the groupwork and how you have evolved the design3.2 Design development & Fabrication of prototype v2: Sketches/Diagrams of design development in reponse to feedback Plan, Elevation and Axonometric drawings of updated Rhino model. Photographs of physical prototype v.2. 3.3 Design development & Fabrication of prototype v3: Sketches/Diagrams of design development in response to prototype v2. Photographs of physical prototype v33.4 Final Prototype development + optimisation: Pictures, diagrams + text explaining how design was optimised for fabrication/material usage and effects.(include vector linework of unrolled + nested cut file) Include text and images describing how research/readings/precedents influenced prototype development3.5 Final Digital model Plan, Elevation and Axonometric drawings of final Rhino model. 3.6 Fabrication sequence: This should be images showing the construction process presented as a storyboard sequence. We suggest the team to set up a static camera position that fully record the entire building process.3.7 Assembly Drawing: Vector image of Assembly Drawing of whole or part of model ( Exploded Iso/Axo) annotated with assembly instructions 3.8 Completed 2nd Skin: Images of project photographed on body and in detail

Integrate images with approx. 300 words of critical analysis describing the work of this module & reflecting on key themes raised in M3 reading questions. How has the reading changed your views or thoughts on the making process?

4.0 Reflection. This section should be a critical reflection of your overall design process and experience. What have you learnt, what aspect of the studio did you find challenging? How can you improve your design and where do you think things went wrong or well? Include a reflection on the key themes raised in the M4 reading questions. max 500 words in total.

5.0 Appendix: You can include the below as an appendix or as in text footnoting and image captions5.1 Credit: Credit every drawings / models / diagrams in your book to the appropriate member/s of the team - See example on p185.2 Bibliography: Use Harvard system; http://www.lib.unimelb.edu.au/recite/citations/harvard/generalNotes.html - See M4 tasks appendix for details

CONTENT

1.0 IDEATION

2.0 DESIGN

3.0 FABRICATION

4.0 REFLECTION

5.0 APPENDIX

6.0 BIBLIOGRAPHY

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0.0 Introduction

Addressing the question of personal space was key to acheiving the most successful design result. We were forced to define personal space for ourselves and then interpret that understanding for users of our propsoed ‘sleeping pod’. The design was to create a ‘sleeping pod’ that would adress personal space, the sense of comfort and sense of security a user would feel. The spatial and emotional effect were equally as important throughout the design process. From choosing a materials system to learning how to develop digital models and achieve digital fabrication, I can say that I learnt many new skills that I can take with me in future design endevours.

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1.0 IDEATION MEASURED DRAWINGS

I created the digital model using Rhino. The Slinky resting horizontaly was created with the helix shape followed by the sweep1 tool. The ditial image of the slinky rested in a semi ciricle was created by first creating 2 lines and a trimmed circle ot create the arch shape. That shape was then elevated to form the lining for the helix. Lastly, the pipe tool was used to create the final 3d image.

Elevation (front and side views) and cross section created by transforming 3d image into a 2D image (‘make 2D’).

The top view was done by tracing an individual slinky ring. I drew the flattened slinky by first photocopying the slinky and then tracing the image with a lightbox. Side view and cross section were done by measuring slinky in rest position.

Slinky RingSide View - Vertical Cross Section

0.5cm

Top VIew

7.5 cm

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RHINO MODEL

Front View Side View Cross Section

Isometric View (before pipe

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SYSTEMS ANALYSIS

The slinky is unqie and dynamic in the way that it can transform into different shapes and volumes. Depending on how the slinky is held and stretched, it can be compressed and stretched. Resting both ends flat on a surface creates a semi circle whilst resting the slinky on the side creates a tunnel like form.

A flattened slinky

Rested Position - A Semi Circle

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VOLUME: RECONFIGURED SYSTEM

Light: Recreated system to represent the light that shines through the spaces in a slinky when stretched.

Volume:Repeated fold system creates volume. Going over the fold with your hand, the texture of each ‘panel’ side by side can be felt.

Reconfigured Slinky:Joining the two end of a slinky together creates a ‘doughnut’ like shape and in turn, adds volume. The standard form of the slinky is transformed.

Reconfigured Rings:The slinky was cut apart and the rings were riconfigured to link with eachother and create volume.

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SKETCH DESIGN PROPOSAL

Sommer in ‘Personal Spaces’ asks an important question - “how do we respond to intrusions?’. Personally, I may respond with a stare, a grunt, a push or a step back. But why? Personal space is exctly that - personal. It is a space that allows myself to breath my own air. It is an area of invisible boundaries in which intruders may not enter unless granted a personal invitation. When an individual makes himself/herself welcome into my personal space it is an obstruction of “self - boundaries” that I have put up for myself (Sommer).

It’s 8.30am. I’m on a peak hour train to the city. More personal space boundaries are broken than ever before. There is a random hand by my hip, someone breathing heavily on the back of my neck and an elbow to my chest. A way in which I try an avoid such a situation is by wearing my backpack on the front of my body as for me, personal space is most personal in front of me.

Sketch Design 1: ‘bubbles’/spheres Sketch Design 2: Reconfigured Rings Sketch Design 3: The ‘Cocoon’

Thus, my designs take into consideration my own interpretation of personal space. They all form a barrier infront of the in-idividual and around the upper body and neck areas.

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2.0 DESIGN (With Tatyana Procak and Shantel le B la ine) DESIGN PROPOSAL V1

Sketch Design #3 was used to formuate version 1 of the proposed second skin designs and has been taken into the next stage of design. An initial Module 1 Sketch, developing from the analysis of the slinky, this design creates an enclosure for the body; a barrier between it and the outside world. This cocoon removes the distractions of the external environment in order for the user to find peace and relaxation through the assurance of minimal intrusions or distur-bances. This developed design aims to analyse volume as the main communication technique of personal space.

Rings are able to be adjustable through the extesion or compres-sion of a malleable material. Inspi-ration for this mechanism came from bendable straws.

Rings are able to be folded up around the neck and be released upon the users discretion. The mecha-nism allowed for the ring diameter to be dynamic is like that which is seen on a compressor or a bend-able straw, this ability to adjust allows a design that can transform to the changes in one’s sensitivites to the environment.NOTE: Due to the constraining element only being in one direction, the user has the ability to rotate clockwaise and anti-clockwise around the z axis.

A transluscent material acts as a constraint in the design, allow the rings to keep to a maximum extension and not collapse. The design encloses the body to offer a barrier for personal space protection.

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Analysing the boundaries that one’s personal space may pose, we devel-oped a second skin that focused on enclosure and protection. This second skin design focuses on the idea of enclosure and protec-tion. The rules of the slinky allow for the gemoetric shapes to to form horizontal rings with an adaptable mesh in between. This design, through the section and profile system, allows for the user to adjust the skin according to a specific and defined personal space.

Further, the design allows for a personal and peaceful time without the distrsctions of the environment. Likewise, the design allows for an individual to sleep without any disturbances from what surrounds. Both physical and intangible intru-sions of personal space would be at a minimum. Covering the head and upper body, the body is covered whislt still having the ability to have movement of the arms.

Rhino Model : Front View, Back View and S ide View

Rhino Model : Top ViewRhino Model : I sometr ic Render

DESIGN PROPOSAL V1

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Gemoetr ic, Structure, Protective, Shel l , Space

The Winde Riendstra 2011 Col lect ion explores the concepts of form and shape. The ‘objects’ of clothing protect the inner being from its surrounding. At the same t ime, the mater ial system, made from a protective shel l , gaurds the strong energy that is embodied by the inner being.

2011 Collection - Winde RienstraMESH + STRUCTURE = PROTECTIVE SHELL

Enclosure, L ight, Protective, Int imate, Transformation

The Drop Series - Ol ivia Decaris

The drop ser ies creates an adaptive space for individuals or groups to be within a secure enivorn-ment. Made from repetat ive r ings l inked through transperent mater ial , the mater ial systsem al lows for the explorat ion of personal space.

PRECEDENT RESEARCH

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PRECEDENT RESEARCH APLLIED TO DESIGN

The precedent provided inspiration for a material system that is dynamic in its ability to adapt according to an individual’s definition of personal space with the use of rings. Our design uses a series of rings that too, can change according to the inidividual.

NOTE: After exploring the idea of adaptable rings, strength became an issue. It came to our attention that the structure will not be able to hold itself up. Therefore, more pin joints are needed which means the structure will no longer be flexible.

The precedent provided inspiration for the notion of protecting an inidividual’s sacred personal space. The shell like structure inspired us to explore the use of strong materials.

4)Strong shel l l ike structure enclos ing the body.

2)Spine of structure repeated around the body

2)Extend1)Rotate 90o

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DESIGN PROPOSAL V2

Rings fan out from a central point where the middle ring is flat against the persons back to provide comfort.

Rings form around the body, creating a barrier. Looping develops a softness to the design, removing sharp corners and angles increases the comfort.

Rings fold up to create a unifrom ring. Rings are then extended when ones personal space is being invaded or if their is a need for a barrier. This extension is dynamic and transformative.

Pin joint holds all rings together and allows movement outwards.NOTE: Upon later analysis we realised that this design would need a constraint to prevent all rings from falling.

For comfort, the sleeping position would be wither sitting down or leaning against the wall in order to utilise the back support of the rings.

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The rings create immediate barries to any intrusion of personal space. The neck area is covered well to avoid individuals coming too close to that area and breathing into the neck and face area. There is a ring over that crosses over the chest area that is a physical barrier that portrays the message of a ‘no go zone’.

In this design we aim to define the changing nature of personal space according to ones environment by creating a barrier between the per-son and the outside world through the use of rings. Compression and extension of these rings allow the dynamic nature to mold to the de-sires of the person, their need to be protected, their need to feel secure.

Sight of ones surroundings is kept by cutting the ring just above the eyes, this is important in order to aware of the environment. The ideal position for relaxation, if one was to sleep, would be lean-ing against a wall or chair as the flat back rest will support the body while the rings will extend around the body to offer frontal protection.

DESIGN PROPOSAL V2

Rhino Model : I sometr ic Render

Rhino Model : Front View, Back View and S ide View

Rhino Model : Top VIew

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DESIGN DEVELOPMENT AND PROTOTYPES

While an assymetrical design was in keeping with the deifnition of personal space, the design lacked depth. Light and shadow in any design is crutial as these elements play a role in the experiential ef-fects of a design and therefore our next iteration focussed on the user and the effects of light on the design. Adjusting light admittance through the structure develops the connection a user has to the exter-nal environment.

While the permanent boundaires for one’s personal space is set through the vertical rings, the vari-able sensitivites of the user can be explored through subtraction of the vertical rings. This adjusts the connection to the surrounding environment while a barrier is still present for protection.

Rhino Model : I sometr ic Render

Prtotype 1: Layering

We attempted cut out curved shapes of plywood and then layer multiple pywood together. Whilst this pro-cess created volume and rigid structure, we would need a great amount of panels to complete the process. Also, the layered panels would prove to thick to allow any sort of light to come through a pattern.

Prtotype 3: Living Hinge

A design cut into a rigid material (in this case, plywood) in order to allow the material to bend along the line of the hinge. We cut the hinge in the areas where the plywood would need to bend - around the head and the lower back. The living hinge pattern would provide a barrier through its alternating form while also being effective in the variable interaction with the environment. However, we need to find a way for the plywood to stay in a curved shaepe and not bounce back.

Prtotype 2: Horizontal Cuts

Cutting horizontal lines only worked on carboard. When cutting the plywood, we were cutting against the grain. As a result, the plywood snapped almost immediately when at-tempting to bend the panel. The lack of natural flexibility in the material proved unsuccessful for our desired outcome.

The above example of bent plywood via the living hine pattern aided us in our design development.

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Under manipulation of light and the structures form, the prototype fared well. A striking shadow pattern was created, encapsulating our definition of personal space. The prototype displayed the effectiveness of using a living hinge and therefore for upcoming developments, this will be a key focus.

The rigidity of the plywood is sustained through-out the prototype as the living hinge does not effect the structural integrity of the material. The hinge joint makes the material flexible and there-fore the prototype is able to work with the body, adjusting to the natural curves of the body.

TESTING EFFECTS AND PERSONAL SPACE ANALYSIS

When in the first design phase, we already knew that we wanted to create a sleeping pod that would be appealing in terms of function but also the ability to adapt to varied defintions of personal space. we explored the immediate area around the body and chose that as our focus area (as seen i above image). In terms of a sleeping pod, the 2nd skin is designed for people to find relaxation in areas where laying down is not always an option. The design is evolved around the ability for one to sleep leaning against a wall or chair.As analysed in the photos a leaning position keeps a relatively straight back with a slight curve at the neck and low back. These adjustments are met in our design through the curving ability of the plywood.

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3.0 FABRICATION (With Tatyana Procak and Shantel le B la ine) RESPONSE TO MODULE 2During module two we were able to see our design develop from a sketck to a prototype. Whilst this was exicting, the prototype forced us to revist some design deci-sions. We had chosen th living hinge pattern as the means to create curvature in the plywood but we still need to develop a way to constrain the plywood panels to the desired amount of curvature that we need. Further, we needed to refine a mechanism to hold the panels together at the lower back. We also wanted to introduce the possiblity of being able to carry the panels with ease. Ofcourse, all of these elements needed to evelop into experiential aspects of a sleeping pod for a user. To do this, we kept in mind the sense of protection and relaxtion that we wanted the user to experience.

The aim of the 2nd skin is to accommodate for the changes one might have according to the environment while still making available the ability to hide away, allowing for complete protection.Analysis of personal space boundaries showed that one side of the body is specifically more sensitive than the other and therefore in need of more ‘protection’. How-ever as these boundaries adapt to the surroundings, perforations of the material will allow for the accommodation of the dynamic nature of personal space.

Module 3 therefore focues on the facbrication of the cocluded design to test materials and provide proof of our designed concept keeping in mind the notion behind protecting personal space.

EXPERIENCEIn response to the body, the sleeping pod was designed to be used when leaning against a wall or chair. Developing this idea we decided to remove the belt element aiding to the ability for a person to comfortably adjust the device to suit their needs when sitting, leaning against a rigid surface. The belt was a problem in itself due to the difficulty for it to attach all rings together without hindering the extension around the body.

CONSTRAINTIn response to the lack of controlled curva-ture, we cut small holes within the material to test the capabilities of string holding the designed rings in place.

MECHANISMWorrying about the functionality of the design led us to remove the dynamic aspect of expandable rings into a static design, however through further testing as well as the slight change in the use of the design, dynamic panels are once again being incorporated. This change increases the amount of users which it’s able to cater for as well as increasing the portability of the design, as panels/ rings will be able to overlap and be held together by the user.

Experience: Living Hinge Pattern selected for repeat perforations Constraint: Strings (red) keep curvature Mechanism: Pin joint revised to hold panels together at lower back.

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DESIGN DEVELOPMENT

These images show the elements of our revised design. The five panels are all of different widths to create an added sense of volume and to help filter light on the user. The living hinge pattern covers 3/4 of the panel leaving the lower parts solid to support the back and be held with a pin joint. The string introduces adaptability to the sleeping pod as it it is weaved through the living hingl of the panel and comes down long enough for the user to reach and pull according to own needs of personal space. Pulling the string will force the panel to bend to different degrees. The string can then be secured to a clip for stablity.

Rhino Model: After reviewing module 2 we decided to have a uniform pat-tern (living) hinge on each panel to remove any aestetic distractions for the user.

When developing the Rhino model the overlapping nature of the panels showed that there was a common point of everlap where there waas a solid surface. Here, a bolt could be used which would allow the dynamic movement of the panels.

Rhino Model : Front View Rhino Model : Perspect ive View Rhino Model : S ide View

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FABRICATION OF PROTOTYPE V2

We used the University of Mlebourne’s laser utter to complete our design process. Designed to cut exact measurements through solid material (in our case, plywood), the laser cutter cut out the living hinge pattern and overall panel shape. Doing this process by hand would not result in accuracy and preci-sion. Once the panels were laser cut we layers them in order of width, joining them at the bottom.

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DESIGN DEVELOPMENT AND PROTOTYPE V2 FABRICATION

This prototype had holes to weave the string through in order to control the curvature of the plywood.

Various string was test-ed for the constraining factor. While the twine used in the following photos suited the aes-thetic, the smooth coat-ing of the fishing line was needed to allow the panels to be pulled into shape.

The string proved helpful in created a curve however this method actually cre-ated too much flex-ibility. Weaving the string through the laser cut holes in the panels did not work to our advantage when acting under the force of gravity.

Due to the unex-pected amount of f lex ib i l i ty, the p ly-woof snapped un-der pressure at the weak point of maxi -mum curvature. We discovered that the amount of mater ia l between the cutouts needed to be re-v ised to ensure that there are no weaker points in the panel .

We realised that, perhaps, if the panels were con-strained in the opposite direction and reversed gravity then the desired curvature could be at-tained. The scaps of the cut outs were used as a spine and string was loope from the spine to each panel. Whilst this worked it was not aesthetically pleasing nor was it practi-cal in terms of carring or simple to use.

After going though the fabrication process we realsed that the maxium size of plywood the ma-chine can cut would not be long enough to curver over the body. Thus we developed the idea of layers to extend the length of the panels. This allowed for curvature and increased strength at the base.

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FINAL PROTOTYPE DEVELOPMENT SKETCHES

Above is a front elevation sketches of the panels folded and then unfolded. When folded up straight, the bottom cut-outs of each panel align to form a handle – allowing for easy transportation. When unfolded and fanned out, the panel’s living hinge pattern causes a bend in the plywood as a result of gravity.

Below is a sketch of the pin joint and handle detail. All panels are cut with a hole for the pin joint – a nut and bolt. The nature of this joint allows the user to manoeuvre the panel angles to suit their personal space. The nut and bolt fastens all the panels together, creating enough friction so the panels hold their place without collapsing, yet are able to move when the user applies force.

To the left is a side elevation sketches of the panels unfolded and folded. From the side perspective, it is evident (based on the prototype) that the degree of bend in the plywood correlates to the thickness of the living hinge pattern. A thicker pattern at the base allows the panel to hold its form whilst still bending at the top to create personal space.

Below is a sketch of the panel components. Due to size restrictions, the plywood panels had to be divided into three sections – the living hinge panel, middle panel, and handle/joint panel.

Finally, after testing was completed with the previous two materials plywood was analysed. Material properties for plywood suited the needs of the design, its strength was desirable for a sense of protection and barrier, and as it was is a soft wood, it has the ability

The design excelled through the use of plywood, gaining the strength needed for a sense of protection around the body as well as allowing connection with the environment through the perforations produced by the living hingeto bend and curve when using a living hinge pattern. Prototyping with plywood actualised these properties and produced elements suited for the design.

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FINAL PROTOTYPE DEVELOPMENT AND OPTIMISATION

To optimise the process of fabrication, materials and digital models were colour coded to ensure the correct pieces went together. Due to the nature of the design, no tabs were needed during this process however care was taken to keep all materials sorted.To optimise material usage we aimed to use as much of each sheet of plywood as possible, aim-ing to keep wastage to a minimum however waste that was produced found other uses.

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FINAL PROTOTYPE DEVELOPMENT AND OPTIMISATION

Developing the design in order for it to be portable meant optimising the design in some way for it to be: - Easy to carry - Comfortable to carry - Easily foldable

To satisfy this criteria we cut a hole in the centre of the bottom panel where the rings overlap. This hole allows a bolt to be screwed through all panels, holding them together while also allowing a fanning movement.After considering the foldability we then looked at the portability, how we can make it comfortable and simple. To do this we cut out a semi-circle hole just below the rotation point. The rings, once folded together neatly, form a comfortable hand-hold in its size and depth when all of the materials are stacked together.The design is easily carried over the shoulder while going about daily business.

Crudely hand cut first pro-totype using plywood test-ing material-ity and the living hinge pattern.

First prototype of the curved ring using the laser cutter. the pattern was a repeat-ing pattern with regular distances.

Final product utilised the laser cutter but the living hinge was optimised to include varying distances.

LIVING HINGE: The ‘living hinge’ pattern is the foundation for our design. It is the ‘living hinge’ that allowed the plywood to bend and it was therefore integral for us to ensure the pattern was worked to a highest standard and ability. We used the laser cutter to produce the pattern. After producing our prototype we realised that our original living hinge pattern would have to be reworked as our prototype was too flexible. Whilst at first we had to push gravity, we now found ourselves having to reverse gravity to create less bend in the plywood. In order to do this we measured the existing prototype against our model to work out exactly where bends in the plywood are necessary. After reworking our final design, we then used the laser cutter to to produce our final structure with the new dimensions.

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FINAL PROTOTYPE DEVELOPMENT AND OPTIMISATION

SPINE: The initial design concept was to have a spine in order to support the back and to hold the weight of the adjacent panels. Further, we hoped the spine would work as a backbone for the pan-els to overlap like the panels of a fan. When we tested the prototype and saw that the plywood bent too much we attempted to use the offcuts from the laser cutting as the a spine. Rather than being the narrow and supporting spine that we had hoped for, this new ‘spine’ was more like a frame that enabled us to create a pull system with string to create adaptable panels. However, the frame proved aesthetically displeasing and too overbearing for our desired sleeping pod design of being functional, volumetric and and simplistic.

STRING: When testing the frame and pull system idea we used a rough string which matched the colour and materiality of the plywood panels. The roughness of the string did not allow the pull system to work to its full potential as it did not run smoothly against the plywood. Fishing wire was another option we explored however it was too tough. As we decided not to use the frame, we assumed that we would no longer need string incorporated into our design. Yet, when our final panels were pro-duced and it was evident that they were too inflexible, we were forced to rework the use of string into our design. The string and the desire to have the correct amount of bend in the plywood are points in our design that we acknowledge needed the most improvement. For the final design we have decided to use minimal string just for the lowest panel of either side. This would create tension and thus a ‘forced’ bend of the plywood so that the panels are closer to the body and protect personal space.

PANEL SIZES: At first our design was to have five panels that were all of equal size. When producing the prototype we tested the possibility of having a range of sizes with the panels in order of width to create an added sense of volume. However, together with living hinge pattern the sleeping pod structure had too many different elements and needed simplifying. Hence our decision to go back to having same sized panels but wider than the originally designed narrower panels. The wider pan-els create extra volume and coverage for the body in terms of protecting the individual’s personal space. Due to the fact that the laser cutter could not cut panels the required length, we also produced solid rectangular panels in order to lengthen the panels overall.

Spine ut i l i sed to carry r ings

together.

Spine is used to attach str ing to create

var iable extension.

F inal panel template where al l panels are 250mm wide.

Init ial panel template with widths ranging from 180mm - 300mm.

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READINGS APPLIED TO DESIGNDigital Fabrications: architectural + material techniques/Lisa Iwamoto. New York: Princeton Architectural Press c2009

Recently the process from design to fabrication has become almost intertwined with the fabrication method ultimately forming the design aesthetic. The development too, between design, fabrication, prototype and final design becomes “blurred”.

However, a positive aspect in the recent shift in the use of digital technology is that the technology creates an environment for archi-tects to be involved in and take control of the building process. For Michael Speaks this new shift is “design intelligence” as the making process becomes “intelligence creation”. The use of digital technology has aestetic merit too. The great visual impact of digitally designed projects marks a further aspect in the recent shift of technology.

The difference between our hand cut panel and digitally cut panel is a world apart aesthetically. Additonally, Lisa Iwamoto notes that the decision regarding which digitial machine to use for the fabrication process must “marry design intent with machine capability”. For our project we chose to use the laser cutting machine as it married our design intent. However, to our disadvantage, the machine’s maximum sheet size capability meant that we would have to adapt the length and design of our panels to fit the laser cutter’s capability. We did this by layering 3 panels on top of eachother in order to create one longer panel to cover the upper length of the body and over the head.

Architecture in the Digital Age - Design + Manufacturing/ Branko Kolarevic, Spon Press, London c2003

The digital fabrication process includes two dimensional (CNC and Laser cutter), subtrac-tive, additive and formative fabrication processes. The CNC fabrication processes involves two-axis motions of the sheet material relative to the cutting head that are implemented as moving cutting head or combination of the two. The laser cutting process uses a high intensity focused beam of infrared light with highly pressurized carbon dioxide to melt or burn material that is being cut. Subtractive fabrication is the removal of specified volume of material from solid whereas additive fabrication means the physical product is gener-ated incrementally by adding material in layer-by-layer fashion. For restricting forms, a formative fabrication process applies heat or steam to the material to set the material into the desired form.

For our design, we began the process of fabrication by ‘kerfing’ the material by hand. Our next step involves using the laser cutter to digitally fabricate the material – cutting the ‘living hinge’ pattern into the strips of materials to bend plywood into our desired form. Initially we intended to follow an additive fabrication process however it did not prove successful in terms of creating the desired volume. Formative fabrication was also a pos-sible option, however we preferred to use a laser cutter as it simplified the process and will produce a more aesthetically pleasing outcome.

The fabrication process of laser cutting the living hinge pattern into the plywood effected our project positively. The process enabled us to have a desired outcome of bent plywood. A negative effect however, as seen in our prototype, the width between the cut outs of the pattern was too narrow and caused one of the panels to snap. In all, after reworking the strategy and dimensions for the fabrication process, the strategy proved successful.

Template for laser cutt ing metal panels and the laser cutt ing process

Assembly and f in ished exter ior.

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FINAL DIGITIAL MODEL

ISOMETRIC OF RHINO MODEL ON BODY

PLAN OF RHINO MODEL ON BODY

ELEVATION OF RHINO MODEL ON BODY

Plan View

Isometr ic View

The Rhino model allowed for the visualisation of the design focussed around the upper body. Working on the model also modelled how the extension of length through connected stright panels would look. As seen on the side view, the panels are able to still fit nicely together, staying aesthetically pleasing and functional by not being too bulky.

Side ViewFront View

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FABRICATION SEQUENCE

1. Sort out all sheets of material ready for fabrication process.

2. Carefully extract the cut material. At some points extre care and further hand cutting is needed where the laser hasn’t completed the process.

3. Sort all elements within the design to allow for easy fabrication.

4. Utilise a hot glue gun to securely attach all pieces of the rings together.

5. Secure all layers together, making sure they are straight and at the correct lengths.

6. Connect all rings together using a bolt at the crossover.

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ASSEMBLY DRAWING

Panel types depicted in green, purple and blue are connected together to create separate rings.Blue sections are then connected together using a nut and bolt through the hole indicated on each panel.

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COMPLETED 2ND SKIN (SLEEPING POD)

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4.0 REFLECTION

Taking part in the fabrication process proved that there is indeed a necessary relationship between making and working with materials, something that “architects have long been disconnected from” (Building the Future: Recasting Labor in Architecture). Taking an active role in the process provided me with the opportunity to develop skills from the initial design stages through to the final fabrication stage. Skills included learning how to use digital modeling technology, working with materials and learning to stretch my imagination. In saying this, I regret not taking on the role of digital modeling in my group as I missed some key chances to expand my knowledge of the Rhino program and preparing a file for the laser cutter.

Along my journey of stretching my imagination was the notion that ‘Making is also an active way of thinking’, which was expressed in the week seven lecture. From that stage onwards I realized that physically making and testing has a tremendous power rather than simply sketching ideas on paper. After making and testing at each design stage, my group was able to immediately see what parts of our design were successful or unsuccessful.

The digital fabrication process proved essential to our design as our hand cut prototype did not deliver on effect, performance or aesthetics. It was the laser cutter’s attention to detail and ability to cut holes of narrow proportions that produced our desired result. Nonetheless, when putting together the final laser cut panels we saw the slight imperfections of digital fabrication. Some of the incisions into the plywood did not go all the way through the plywood and we thus had to complete the process by hand in some small areas.

Using the laser cutter meant that instead of learning how to fabricate by hand, we had to learn the skill of intelligence of how to put the code into the technology that would do the job for us. This is where the relationship between humans and technology became apparent and of upmost importance in the design process.

In terms of improvements, I think that we could have pushed the volume of the structure further. We paid a lot of attention to the details and how the ‘sleeping pod’ could be transported rather than focusing on the possible volumetric impact the design could have too. Perhaps the addition of panels to communicate to others an added sense of security would improve the design and provide users with a real sense of seclusion and personal space. Further, more time would have allowed us to expore further options of how to increase the curvature of the panels whilst still being in control of the overall movement. The clear string worked well but could have been substituted with re-cut panels that allowed for curvature.

Whilst the volume and the details of the curvature could have been pushed a little further, overall I felt that our design was successful. Working in a group definitely improved the overall working condition and stress levels associated with the design process.

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5.0 APPENDIX

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6.0 BIBLIOGRAPHY

Heath, A.,Heath,D.,&Jensen,A.(2000). 300 years of industrial design : function, form, technique, 1700‐2000 / Adrian Heath, Ditte Heath, Aage Lund Je-sen.NewYork:Watson‐Guptill.

Iwamoto, L, 2009. Digital fabrications: architectural and material techniques / Lisa Iwamoto. New York : Princeton Architectural Press, c2009.

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. pp38-42.

Sommer, R. 1969. Personal space: the behavioural basis of design/ Robert Sommer. Englewood Cliffs, N.J.: Prentice-Hall, c1969.A