Collings jack 756547 lyle #11

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DIGITAL DESIGN + FABRICATION SM1, 2016 Mechanical Pillow

Jack Collings, 756547 Lyle, Group #11

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1 . 0 I D E A T I O N

Throughout module 1 the basis of the themes was focused on skin and bone. Having the Umbrella object the structure of which was explored through a function of process. By initiating digital modeling and the measured drawing and how that was to be constructed and interpreted (Heath, 2000) an analysis of these function was presented, as a mechanical system that is adjustable in both the overall bone and skin component if the umbrella. The sketch designs followed, with the accompanying of the listed readings during module 1. The designs were presented on the basis of a personal space provided with the capabilities of allowing a person to sleep comfortably inside, which is the presented 3-sketch idea in the above section.

Image, Jack Collings, 2016

Measuring the umbrella was difficult, as of its scale. The easiest way was to decon-struct the umbrella and take the physical measurements, interperating them into draw-ings.The Elevated view was adapted from a photograph which was then placed to the same scale and traced.

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The ’bone’ of the umbrella is most usful in its ability to alter the tension of the ‘skin’ of the plastic, the functionality of the adjusting joints allows...

Diagramatic represnta-tion of the areas more likely needing coverage for security. The wider elipses representing the spacing of comfort.

Form/ Geometry/ Pattern/ connection/ spaceSketch Design #1

The basis of personal space is centred around the person that becomes more linient towards the outer space of a person.

symmetry/ shape/ simplicity/ connection/ secure

Sketch Design #2

A slinky like embodiment, enables a 360 degree enclosure of personal space allowing for a secure and reliable design.

Focused on the Priority spacing of the male body, the design edges away from the less sensitive areas of the body whilst allowing an intricate open canopy.

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2 . 0 D E S I G NPartner : Taylor Xia

During module 2, I joined my partner Talyor Xia and pushed fur-ther to generate more designs of which we chose our preferred design. Moving into the digital design and the further Computer-ized processes. The readings by Scheurer mimicked our cur-rent stage that Scheurer identified in the architecture industry of making architecture more intensified in theory but easier to achieve and experiment in practice, via the use of computer technology as a Fabrication.

This implication at the designing stage was evident with the new software being explored, and added by the guidance of the reading ‘Paneling Tools for Rhinoceros’5’. Through the experi-mental ideas it became evident that we could only create what we knew how to create on the program and its limitations as ad-dressed by Scheurer (Lost in Parameter Space) as he brings forth the modernism limitations of computerized designs it becomes a continuation of similar styles. Yet it is thus evident that com-puter use has made presentation and fabrication a much easier process that this design has then followed to become digitally designed and then fabricated. Just as our modeling was flat packed onto a Laser cutting template to be cut and then con-structed by us.

Sketch Design #3resriction / framework/ Tension/ Comfort/ line

from a loose garment to the expanding space of a framed bone structure, the space from the skin is portrayed by the overlay and the tensions explored.

The comfort of a loose garment has been experie-mented into a safer second skin, through the ue of a bone like framework.

The tension has been explored to identify the most desired and reasuring structure.


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Following the geometric form of a triangle as a bone membrane that will support the person for a ‘nap’. The bone is the solid lines of the formed 3D and 2D membrane, which would hold a fab-ric/ skin like compond to case the structure.

Element

Through repeating elements to form a unregular structure to support human’s head, neck and shoulders. Besides, the surface outside the structure is to hide human from light.

Through discussing the 2 sketch designs, it can be seen that the similarity is both repeating the samilar triangular elements to form the structure. However, these two structures are not moveable; therefore, it might be hard and not comfortable for human to sleep.

Element

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(Image by Taylor and Jack, 2016).Drawing by Taylor Xia, 2016.

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Dunescape at moma, New York com-pleted in 2006.Designed by Shop Architects.

Image retreived from, http://www.sunyorange.edu/culturalaffairs/images/dunescape

The layers in the dunesape design present a stacking of miniml spac-ing between the elements and present the unique form, as con-structed by the Architects at Shop Architecture.

Overlay, Repition, Rhythm

The structure was designed in accord to the satisfaction of a social entity, be-ing used in multiple ways as a summer art piece. The concept of the overlaying timber member’s presents the bases of the design, as the individual elements are slightly bigger or smaller in a differing shape that together in line creates this flowing effect and movement.

Precedence applied to the deisgn arises the idea of the overlaying of similar elements to form an object has been adapted in our design. The same form of repetion and connection joints to hold the form of a shape has also been explored in our design ideas and modeling of the prototype.

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(Image by Taylor and Jack, 2016).

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Tension, Movement, Dynamic

Kinetic Wall By Barkow Leibinger

PRECEDENT RESEARCH - Kinetic Wall

This design is of a shape-shifting wall that moves in and out, continuously moving bringing the wall to life. The kinetic wall followes the basis of “the utopian dream of an architecture that can move”, as presented in the moving arms pushing the fab-ricated skin of the wall. This design is of a shape-shifting wall that moves in and out, continuously moving bringing the wall to life. The kinetic wall followed the basis of “the utopian dream of an architecture that can move”, as presented in the moving arms pushing the fabricated skin of the wall.

The Kinetiic wall used as a precedent brings forward the movement used in the kinetic wall is pres-ent in the configuration of this moveable pin-jointed diagram. this function also acts as a move-able architectural basis, strengthening the interest of this design.


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Design 1, involved the concept of a personal comfort zone. In which the design would be spaced out and engulf the body and act as a support to the body and the head while sleeping. We changed the design multiple times trying to gage what whould be a comfortable solution. Some of the trials and fromation of the main bone of the design, created around the bosy and how this would work as a comfortable solution along with the practicality of the shaping around the body.

Design 2, Looked at making a continuous layered extenstion of the membrane, that is stacking the elements along one based pin joint. changed the ideas of being an extention of the body to more of its own structure. Something that can be placed on a table or a wall and the movements engaged in during sleep would rearange the structures ultimate form while supporting the head inside the connect-ed skin.

From the use of this triangle like element, we slowly adapted a more dynamic connection system and joinary to bring forth the 5 piece model and further developed how to make the system work as a whole.

The development of successfully layering the joints of the five piece set, created a great difficulty as the system has a very high limitation of what layer can be connected to another layer and how the functional purposeof the moving mechinisms interplay together.

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(Image by Taylor and Jack, 2016).(Image by Taylor and Jack, 2016).

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Movement and function can be seen from the singular elements of how the joinery works within the mechanism. The form of the structure thus is manipulated through the point of force and adjusts accordingly to satisfy the force onto the point of load.

TESTING EFFECTS

Within module 3, we started to construct our model from the cut MDF from the University of Melbourne Fabrications lab. The 3mm MDF was then arranged into place and fixed by a process of simple nuts and bolts along with supporting elastic holding the design into its specific position-ing of the desired shape for use and for presentation. Forming the bone structure the fabric element was attached with string and thread and allowed the final functioning of the design to come together as one. The skin element sitting loose over the moving elements

The new form of the digital uprising presented by Branko, as a new refor-mation of architecture’s conceptualization or methodology approach in architectural design. Stating that modern Architecture is in essence ‘born out digitally’ as the limitations of completing a design digitally are explored and presented as a limitation of digital formalities. Which can be seen also in process of design growth as we staterted to only improve our model digitally.

The digital fabrication of digital to physical has created the complex ge-ometries that wouldn’t normally stem form drawings, as NURB curves and surfaces. The processes of which include, two dimensional and subtrac-tive fabrications.

This process was used in module 3 with the two-dimensional laser cutting involving a two-axis motion over the specified material sheeting from the digital software of rhino- which was more limited to our skill level then the programs limitation. The Fabrication Process, strategy and effect on our Second skin project guided by the views and perceptions of Kolarevic, as the fabrication method. The two dimensional axial printing limited but also drove our design to be fabricated on a two dimensional plane and helping in the solving of the mechanics of or design.

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From the progression of Module 2 and ex-ploring such precedences as Dunescapes by Shop architecture and the Kinetic Wall by Barkow Leibinger, our design shaped and eventuated to this movable structure. The skin and bone principle structured our design and we formed an overlay and repetitve geometry to create a moving flow of this dynamic design. There was still many issues with movement and the over-all shaping of the design that had to be refined during this module.

The Alteration of the structure needed to be adressed and a desired shape had to be formed before we could continue with the fabrication. After methodi-

cally arranging shapes and laying elastic supports we found a reliable and workable arrangement.

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PLAN OF RHINO MODEL ON BODY

ELEVATION OF RHINO MODEL ON BODY


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3-axis milling machine, image by Kolarevic.

The new form of the digital uprising is presented by Branko, as a new refor-mation of architecture’s conceptual-ization or methodology approach in architectural design. Stating that mod-ern Architecture is in essence ‘born out digitally’ as the limitations of com-pleting a design digitally are explored and presented as a limitation of digital formalities.

The digital fabrication of digital to physical has created the complex geometries that wouldn’t normally stem form drawings, as NURB curves and surfaces. The processes of which include, two dimensional and subtrac-tive fabrications. This process was used in module 3 with the two-dimensional laser cutting involving a two-axis mo-tion over the specified material sheet-ing from the digital software of rhino- which was more limited to our skill level then the programs limitation.

Architecture in the Digital Age - Design + Manufacturing/ Branko Kolarevic

The Fabrication Process, stratergy and effect on our Second skin project guided by the views and perceptions of Kolarevic, as the fabrication method. The two dimensional axial printing limited but also drove our design to be fabricated on a two dimensional plane.

• Rhinosoftware, shaped and derived how we could form our final design with the limitations of our knowledge base and skill of the program

• Material, restraints were seen as availibility and acces to materials in both the fablab and fittings from hardware stores.

• costing, set a limit to exploration of physical modeling and the final finish of the design outcome as highly expense materials is not feasible for the project.

• time, coming into constraint from the digital to fabrication process of the physical cutting and other limitation brought forward from the use of digital programs- such as crashing of software.

Digital Fabrications: architectural + material techniques/Lisa Iwamoto

For new developing, it is because the original model is loose and not stable that using material of rubber bands is an at-tempts to control the loose structure. The qualities of rubber bands are not only flexible but also controlling the move-ment. Therefore, the model became more stable but still moveable.

Detail of Dunescape image from : https://au.pinterest.com/pin/324751823102121669/

Detail of our model

According to this reading, the form used sectioning as digital technology with precedent of Dunescape Project (shown right above).

The new model still followed the geometric shape of the origin. Specifically, the model is built by a series parallel, stacked dimentional MDF with rules. For makin this model much more stable and comfortable, we changed the edge of elements into round cap and constructed the whole form with tight connection between layers.

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During module 3 the main sources needing to be developed and modified was the overall geometry of the designed structure. Trialling of elastric supports held the form of the ‘bone’ of this structure. Tested was a multitude of failing results that needed to be modi-fyed and arranged sytematuically unitl the final configuration was achieved.

Through trial this arragement was derived to hold the shape of the structure. Allowing the elastic to move by stretching with an applied pressure onto the structure, making the model both more functional in comfort and adding an aesthetical quality of the moving formation.

The elastics hold the structures shape together, when ap-plying the force onto the joints it moves with force making the structure move with the needs of sleep but still recon-figures top the original shape after the force has been ap-plied and removed.

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After the formation of the de-sired geometry was established, the laying of the movement between elements was used. Arraying the layers of MDF presents an interesting dynamic function as the system moves in different ways with the differing forces placed onto the design. The elastics holding this shape as presented to the right and thus acted as a base for the design of the overall integrity.

Through prototype testing the material usage became eviedent to display the desired effect of the design and seemed practical enough in terms of cost and pro-duction methods as construction involved the use of nuts and bolts and threading of elastic. The ma-terial behaviour of which is used to gain the desired effects are due to the shaping and arrangement of the individual pieces and the ten-sion forces of the elastic and the skin fabric used iun the final model.

Prototype Final fabrication of Model

The refinement of the model from the proto-type seen changes that improved the practicality and the function of the model while inhancing the asthetic values and the models visual quailities in presenting the movement of the design. Changes include the shortening od elements, rounding the edges of courners, elstaic supports to hold geometric form and alteration of bolt size all presented in the final fabrication.

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Design optimisation due to Material us-age, came together as the form was distin-guished. The materials that play into holding the structure into shape and positioning can be seen as the elastics, the streachy fabric and the pin joints of the nuts and bolts.

The use of the material for the skin of the structure is an elastic fabric that presents the movement of the bone under the skin, which is presented with the tension of the connection joints and depicts the movement of the design.

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PLAN OF RHINO MODEL ON BODY

ELEVATION OF RHINO MODEL ON BODY

Top View

Front View

Perspective

Fabrication Sequence

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This drawing illustrates how different layers element combine together with bolts and nuts.

This drawing shows how rubber bands connect with MDF elements

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This diagramatic flow of movements presents the elemental shifting that the layers present in the motion of sleep. The rolling motion and the pressure pushed down onto the machanics makes the structure move and allows the fabric to shift and support the head in a comfort-able manner .

The image to the right presents the ma-chanics working in a verticality to sup-port the spine and the head.

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4 . 0 R E F L E C T I O N

The design process of the sleeping port from day one to now although only limited to the single view of the skin and bone and the singular design, the mechanical ideas and the design process that came about through this entire process has been well worthwhile. Learning alongside other designs following this process was a great insight into seeing not only how I myself work but others and how they work with their ideas. This experience of Design, digital interpretation and fabrication has brought forward a lot into the entirety of my knowledge of what architecture and other fabrication projects consider and the difficulties arisen through the process.

I found in greatly interesting in the readings of how the view on digital development is not only part of the modernism movement in architecture but how many view it, as a less architecture form as the designs start only haveing a one way flow and that is to be modern- curvature and flowing elements moving architecture away from the ornamental and grand scaled buildings of the past to how quick it can be built and how accurate your computer modelling is. I found this aspect of fabrication not just limiting but something that needs to be explored and addressed as Branko Kolarevic presented in his article.

Throughout the studio what I found most challenging is something I would of once seen to be one of my strengths and that is to conduct a process and a systematic approach to a thought out design, however its seemed to be the most challenging as there are so many issues raised when you engage in the entire process from de-sign, to digital to the fabrication. These issues of the mechanical pillow just didn’t seem to have a great approach to solving the issues it was just a lot of trial and error. This making the progress very tedious and frustrating.

For improvements on the final design, I think the only problems was the scale of our project being suited for the head or a similar sized object to support. The mechan-ics also had some faults and problems that could still be altered, especially when it came to the filming as the movement didn’t present well on the table that was pre-sented. However the layering and desired movement of these layers worked well and so did the fabric (skin) used on the project as it gave an interesting contrasting textural element to the design. The overall design was probably risky and came down to a lot of components to play around with, making the theoretical component interesting but the entire visual somewhat lacking, making the design risk kind of interpretational to the viewer but for us making the design it did feel quiet a complex a task to finish (Philip Bernstein, 2008). Overall I enjoyed and learnt a lot throughout the digital, Design and Fabrication.

REFRENCING

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

Building the Future: Recasting Labor in Architecture/ Philip Bernstein, Peggy Deamer. Princeton Architectural Press. c2008. pp 38-42Digital Fabrications: architectural + material techniques/Lisa Iwamoto. New York: Princeton Architectural Press c2009

Dunescapes by Shop Architects (2006). Retrieved from http://www.shoparc.com/projects/dunescape-at-moma-ps1

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

Kinetic wall by Barkow Leibinger (2014). Retrieved from http://www.dezeen.com/2014/06/18/kinetic-wall-barkow-leibinger-elements-venice-biennale-2014/

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

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Documents

Collings jack 756547 lyle #11