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DIGITAL DESIGN + FABRICATION SM1, 2016 SLEEPING POD

Faye (Xufei) Ye757598

James Park Group 5

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CONTENTSM1

M2

M3

M4

APPENDIX

Measured Drawing + Rhino System AnalysisSketch Design

Design DevelopmentPrecedent V.1Design Proposal V.1Precedent V.2Design Proposal V.2Prototype & Testing EffectDesign Reflection

Fabrication IntroductionDesign DevelopmentDesign Development & FabricationFabrication ProcessFinal DesignFabrication SequenceAssembly DrawingSleeping Pod

Reflection

CreditBibliography

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M1 IDEATION

M1Measured Drawing + Rhino

FRONT PLAN

ELEVATION

TOP

PLAN

ISOMETRIC210mm

370mm

35mm

Drawings used the actual object for tracing over. Rhino model cre-ated through tracing over photo-graph, small details measured by ruler.

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M1Sketch Design

M1System Analysis

This was an idea of altering the bone structure of the fan by curving it and con-necting them to form loops.

The diagrams showcases the motion of compression and expansion. The trasn-formation of a small object into a wide-spread. The direction of movement to open the fan represented using arrows. Although fan may contain the elements of bone and skin due to its bamboo chips and paper coverage. It represented the system of paneling and fold. With experi-mentations conducted in class, a better understanding of paneling and fold is understood. Also further exploration on the relationship between this material sys-tems with personal space.

This design creates your own secluded environment through the hood, provides security and safety, avoids invasion into your own personal space. The idea of panels unfolding from the back, with a bone structure as panels and fabric or other flexible materials as the skin enabling it to compress easily. It is the design that would be further investigated and developed for M2.

Paneling and layering provides coverage, it sur-rounds the head to defend personal space.

The supporting design allows your own head to keep within safe boundary (personal space).

M1 REFLECTIONM1 Ideation was for us to explore the materials system behind the object we had selected. Also using the object as part of the inspiration to create sleep-ing pod.

Enric Miralles &Carme Pinos’s “How to lay out a croissant” (1988) demonstrat-ed the layout drawing in dissecting an object. Provided guidance towards the measured drawings I did for fan.

Robert Sommers (1969) also defined the meaning of personal space, which allowed for ideas to be taken from it and using it in my sketch design. The emphasis of personal space directly links to the aim of a volumetric sleep-ing pod. Which in M2, there would be more exploration in personal space and the impact it would have on my design.

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M2 DESIGN

M2Design Development

Group 5 Cassandra Tom & Faye Ye

Following the exploration of panel and fold in M1, it leaded to developing a design that both explores the material system as well as embracing the features a sleeping pod needs.The aim of our sleeping pod is to provide a sufficient personal space for a person to sleep/power nap in under any circumstances in public. We have studied the common sleeping positions, which include siting on a chair, lying on to the table and standing. Power nap means it has to be fast and at anywhere, meaning our design should also target the convenience of being able to use it whenever it’s needed, being easily ac-cessible yet achieving the protection of personal space.

The first design consists of panels with unfolding system to create a helmet like head piece that shields the whole head. However, the pivoting joint was challenging to create, thus we further devel-oped a self-pivoting structure. Where the panels are connective as a whole, and can be fanned out. Paper was the choice for infill between the panels.

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We experimented on the way of origami folding techniques with physically modelling it. However, we struggled to model the folds in rhino as angles were extruding out of the bone structure).We then came across in test out similar pattern by drawing polygons, offset faces to fit inside each arch, creating trapeziums that fit inside the arcs.

However, we were challenged with producing another design other than origami, leading us to the use of lines and strings to produce gradient effect.

PLAN

ELEVATION

ISOMETRIC

M2Design Proposal V.1

M2Precedent V.1

VEASYBLE created by GAIA

The VEASYBLE project transforms wearable objects into an intimate space, allowing this compressed paper structure to expand into a volumetric object. The origa-mi folding technique works effectively on paper (along with polyethylene and fabric), which these choices of materials also allows the project to be weightless for carrying and wearing.

The concept of fold-ing system in the prec-edent is a continuous piece of self-support-ive origami folds, has inspired us explore on origami technique for our paper connecting between bones, and start considering self-supportiveness of our design, in the way how we could potentially attached to the body.

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M2Precedent V.2

M2Design Proposal V.2

The combination of line, light and shadow has lead us to further explore on the user’s experience in our sleeping pod in terms of vi-sion impact. Not only can we create gradient effect or other types of pattern with lines, we may also utilize light and shadows to form also an atmosphere integrates with the need of privacy and secu-rity for users sleeping in the design.

We have also tested out the variety provide by diagonal lines. Hav-ing combine two rows of diagonal lines in different directions, we have created a crisscross pattern. As light gets through the dia-mond gaps instead of rectangular, it creates another form of shad-owing effect, and due to tinier gaps the pattern forms, it forms a greater degree of vision block, which the different degree of vision block may potentially integrate with the degree of personal space as provided by our sleeping pod design.

Through the precedent, it was evident that light and shadow affects a person’s sensation in per-ceiving the degree of privacy and security, hence, we have developed using strings of different gap differences to connect spaces between the bone structure, in relation with the sense of security and privacy need to feel comfortable sleeping in the space.

Pattern of the gaps are gradually narrowed as it goes from the side to the front, especially in the three panels in front of the head and where the eye sights, we have created an extra row of strings, going diagonally, forming a crossing pattern, to minimize the among of light getting through.

PLAN

ELEVATION

ISOMETRIC

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M2Prototype & Testing Effect

M2Design Reflection

M2 REFLECTIONRobert Sommer’s (1969) reading lead to our definition of Personal Space to be defined as one’s security zone, where invasion into this space may cause one to feel uncomfortable or threatened. This influenced us to design a sleeping pod that is large enough to cover sufficient personal space.

In M2, we continued to explore paneling and folding through the designs. Firstly, with the origami folds that can be expanded and compressed. We made few small prototypes to test out this method. We later developed into using strings, which is also flexible when its folded. The blur image of how the final design would look like is slowly arising.

Surfaces that can be built from paper (Pottmann et al., 2007) has basic introduc-tion to guide us in building our design using rhino and physical materials. Which is helpful and efficient towards the fabrication process. Being able to explore the fabrication process made us realize how time efficient it is to use laser cut. Also producing the prototype lead use estimate the time it may take to fabricate the final sleeping pod.

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In relation with the issues raised in M2, we targeted each one specifically and improved on them. Firstly Shape of the panels, we changed from polygons into ellipse shapes, with a smoother finish. We also eliminated the smallest panel and expanded the width of the inner panels to provide and larger personal space inside the sleeping pod. It addresses the volu-metric nature of the body, enveloping around and beyond the body.

Secondly, Self Supportiveness was one of the major issues, where we targeted a specific kind of chair to al-low it to sit in a stable position, as maintain its stability and suitable for all kinds of chair is difficult to achieve. Also preventing the whole sleeping pod from completely dragged to the front, we designed hooks along with elastic to pull back the gravitational force.

The gradient effect in strings remains the same, although to further enhance this effect, we added third layer of stings in the panels within user’s front sight.

M3 FABRICATION

M3Fabrication Introduction

Group 5 Cassandra Tom & Faye Ye

Issues:1. Self SupportivenessWe need to determine what type of gadget would allow the sleeping pod to sit on a chair, table or on the user stable wise.2. Material ChoicesOther than MDF, choices vary from plywood, Perspex, cardboard, polypropylene etc. Strings also have many choices in terms of its thickness. 3. The pivoting pointOther than wire spiral, could there be a cleaner finish using rings, clips or tubes. 4. TensionHow can the strings remain in tension after its been opened is a definite issue, gravity -perhaps may be the solution.5. Shape of the panelsA smoother edge rather than sharp edges to give it a better finish on the overall look.

Our M2 journal focused on creating a volumetric sleeping pod that would cover most part of the body through series of folding panels with string infill. The effects of the strings were very much praised, however, there are still many issues to be improved on.The concept of the sleeping pod being self-supportive and the folding & compress-ing is to be developed for M3.

Gravity Gravity

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M3Design Development & Fabrication

M3Design Development

Due to the restriction in material size, we decided to apply the puzzle like form, breaking each panel into 2 or 3 pieces. Fabricating and testing the panels were helpful in determining the weaknesses, and the alterations we are able to make before producing the final.

Experimentation of rings in different sizes was conducted, where we used rings with 12mm and 17mmdiam-eter. However, it was small in comparison with the whole sleeping pod. It was also weak when we started folding the sleeping pod, slowly cracking apart. Later we shifted to a stronger, much chunkier ring that was easy to hook in and stable.

Experimentation with different strings to test out the gradient effect in the panels. However, after the com-parisons, yarn still remained as the primary source for the stringing.

The weakness determined prior lead to the de-velopment of reinforcement strips attached in the interior of panels. Securely holding the puz-zle area, strengthening the sleeping pod.

Multiple layers were glued together to add strength to the element.

Having the prototype of the interlocking element helped determine the in-accurate measurements and the small tools need-ing to fabricate for the sta-bility and self supportive-ness.

In order to camouflage the flaws, black self-prime paint were used to provide coverage over the connected puzzle area as well as providing a uniformed visual for the sleeping pod.

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M3Final Design

M3Fabrication Process

As we have fabricated all the elements for constructing our sleeping pod, where fanning out the 9 panels has made us realize the limitation in the ex-tent of support the pivoting area can reach. The sleeping pod was very un-stable, almost fragile when it’s unfolded. The smallest panel was under great tension and close to buckling. Thus reducing the panels was the most effi-cient method in making the sleeping pod workable.

PLAN

ELEVATION

FRONT

ISOMETRIC

These vertical holders prevent the sleeping pod from imbalance and falling to one side. It also makes sure the interlocking panel are locked stably onto the chair.

Hook designed specifically for the legs of the chairs, combination with the elastic, prevents the sleeping pod from falling backwards due to the weight when its in resting posi-tion.

This angle shows the underneath of the intersecting point of the verti-cal holders and interlocking pan-el. Vertical holders lock the panel against the back of the chair.

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M3Assembly Drawing

M3Fabrication Sequence

Step.1 Laser cut the required pieces.

Step. 2 Glue the puzzle piec-es together after separating them from the board.

Step. 3 Let the glue dry and use temporary clips to stabi-lize them.

Step. 4 Test on the fitting on the chair.

Step. 5 Sand the glued areas. Step. 6 Paint over the panels using roller.

Step. 7 Paint over the sec-ondary elements.

Step. 8 Break the split rings into singular pieces.

Step. 9 Tie strings to stretch out to sleeping pod.

Step. 10 Pull strings through all the holes in each panel

Step. 11 Lock rings into pivot-ing holes.

Step. 12 Glue the seat in-terlocking element with the smallest panel, while attach-ing the elastic on the hook with itself.

Step. 13 Stabilize panels us-ing vertical holders while the glue sets.

Step. 14 Testing the sleeping pod onto the chair to make sure it can be stable.

Step. 15 Pull and tighten strings, and snipping off the excess.

Step. 16 Set up the sleeping pod onto the chair.

StringsMaterial: Yarn

PanelsMaterial: MDF

Reinforcement StripsMaterial: MDF

Chair Interlocking ElementsMaterial: MDF& Elastic

Pivot RingsMaterial: Steel

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M3Sleeping Pod

M3Sleeping Pod

M3 REFLECTIONAlthough we had already experienced using Fablab, the M3 readings further introduced us to the efficiency and effectiveness of using these modern technology. Many designs who may seem ‘impossible’ are now formally, spatially and materially possible (Iwamoto, 1969). It was only through modern technologies like Rhino that we were able to fabricate the panels in this short amount of time. The actual fabrication and prototype optimization process was most helpful yet challenging pro-cess in developing the final model. The flaws and challenges we experience forces us to continu-ously come up with a plan to resolve it. For example, one aim we developed in M2 was for the sleeping pod to be portable and easily carried, however, due to the weight of it, we realized the impracticality of it being supported on the shoulders. Thus we thought about a stronger furniture that can be used to provide stability. Developing the vertical holders, reinforcement strips hook further strengthens the design. Also in order to prevent the smallest panel to buckle and tear apart, we reduced two panels to ease out the tension. We realized it is only through the making process that we discover problems we don’t see in computer programs.

M3 was evidently the most in-tense in comparison with the previous journals. We spent an extensive amount of time in the model making space and computer lab. The end result met our expectation and showcased the effort we spent.

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M4 REFLECTION

M4ReflectionM4 REFLECTION

Digital Design and Fabrication was a journey that took us through many that we have not experienced prior. The intensity and work load required to have a well result in enormous. Although it’s an intension studio, what I have learnt in this studio was beyond expectation, from layouts, presentation, drawings, design processes, Rhino, Fablab and many more. These would further assist me in my future studies.

There were countless challenges in this studio, many were due to inexperience with software. It was hard to com-municate through the exact ideas, transferring it from imagination and onto pa-per or computer. Thus in M1, my drawings were not up to the level of expectation, and the mate-rial system was not explored thoroughly. It was un-til M2 pairing up with Cassandra that we really looked in depth of the systems, aim of sleeping pod as well as per-sonal space. We combined the design ideas generated in M1, and continued to develop it through precedents and feedback. Which till M3, we worked harmoniously to fabri-cate our sleeping pod.

As Scheurer and Stehling (2011) mentions - a model is only an abstraction of reality and is not al-ways 100% precise. Software may be powerful to develop complex designs, it does not showcase the materiality and geometry limita-tions. Thus it was important for us to create prototypes that lead us to challenges in physical aspect. An example of this during fabrication was the panels that interlocks with the chair, inaccurate measurements and underestimation of the force lead us to 4 laser cut submissions. And it is only through resolving these physical issues that we were able to fabricate a sleeping pod that is self-supportive.

Building the Future: Recasting Labor in Architecture (Bernstein et al., 2008) em-phasise design risk and the influence it may create. We have identified a few risk from M2 feedback, which we cre-at-ed resolutions to each. However, there were many that we had not identified until it arose dur-ing the fabrication pro-cess. Creating a design risk assessment would have helped us in the pro-cess and increase the efficiency in making the model.

There are areas that can be improved in our sleeping pod, there could have been a solution for strings to be tighter if we had found the tension factor. It could also have been strengthened so more panels could be added to create a more enclosed space. However, I’m pretty satisfied with the final model we fabricated given in that amount of time.

Overall, Digital Design and Fabrication is an intense and demanding studio. There are always challenges and issues we encountered, but its only through experiencing and overcoming it that we are able to gain and absorb the skills given from this studio.

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AppendixBibliography

Building the Future: Recasting Labor in Architecture/ Philip Bernstein, Peggy Deamer. Princ-eton Architectural Press. c2008. pp 38-42

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

Digital fabrications: architectural and material techniques / Lisa Iwamoto. New York : Princ-eton Architectural Press, c2009.

Lines 2013, viewed April 24, 2016. Retrieved from: http://creativepro.com/20-free-vector-pat-terns-volume-2/

Line Body, viewed April 24, 2016. Retrieved from: https://au.pinterest.com/pin/373235887841319428/

Origami, viewed April 20, 2016. Retrieved from: http://www.grasshopper3d.com/photo/para-metric-origami-by

Surfaces that can be built from paper / In H.Pottmann,A.Asperl,M.Hofer, A.Kilian (eds) Archi-tectural Geometry, p534-561, Bentley Institute Press, 2007.

Scheurer, F. and Stehling, H. _2011_: Lost in Parameter Space? IAD: Architectural Design, Wi-ley, 81 _4_, July, pp. 70-79

Sommer, R. (1969). Personal space : the behavioral basis of design / Robert Sommer. Engle-wood Cliffs, N.J. : Prentice-Hall, c1969.

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CREDITS