Module 4 tze way ng 737960

1

DIGITAL DESIGN + FABRICATION SM1, 2016 M4 JOURNAL_REFLECTION

Tze Way Ng (Amos) (737960)

James Park + Group #2

2

3

SECOND SKIN SLEEPING POD

4

5

// 0.0 INTRODUCTION _6

// 1.0 IDEATION _81.1 Object1.2 System Analysis1.3 Volume1.4 Sketch design proposal1.5 Reflection

// 2.0 DESIGN _162.1 Design development intro 2.2 Digitization + Design proposal v.1 2.3 Precedent research2.4 Design proposal v.22.5 Prototype v.1+ Testing Effects2.6 Reflection

// 3.0 FABRICATION _30 3.1 Fabrication intro3.2 Design development & Fabrication of prototype v23.3 Design development & Fabrication of prototype v33.4 Final Prototype development + optimisation3.5 Final Digital model 3.6 Fabrication sequence3.7 Assembly Drawing3.8 Completed 2nd Skin3.9 Reflection

// 4.0 REFLECTION _56

// 5.0 APPENDIX _605.1 Credit5.2 Bibliography

6

7

0.0 INTRODUCTION

Where sleeping meets designs.

This subject calls for an innovative design of a sleeping

‘pod’ that uni students would use in library,union houses or

any desks to take a power nap whilst making it a wearable

and volumetric skin/envelope.

The idea of personal space is to be conveyed through the

design piece making sure that the users feels comfortable

and never uneasy to take a nap anywhere ,anytime.

The project goes from Ideation.Design.Fabrication.

Reflection as we explore and learn to use the digital tools

and fabrication techniques.

8

9

1.0 IDEATION // FAN

10

1.1 OBJECT // FAN

210mm

190mm

30mm 20mm

PLAN

SOUTH ELEVATION // UNFOLDED

SECTION // FOLDED

11

RHINO PLAN RHINO ELEVATION

RHINO PRESPECTIVE

// The fan was measured by first taking birdeye view of the photo then tracing over the photo to get a rough idea of the fan’s shape . Then the dimensions of the fan elements are independently measured to get an accurate measurement of it. The stick behind the paper are also drawn for better understanding of the system structure. The angle of the folded fan at resting position is noted using protractor and ruler.

// For digital model,i scanned the measured drawing and traced it in Rhino. Only one single element of the stick+paper fan is built using the command ‘pline’ and ‘crv’, as the fan is a repetition of the single element. Then,polar array is used to create the repetitive pattern in rotation with set angle and z-axis offset so that it rotates with decrement in height for each element repetition.

12

1.2 SYSTEM ANALYSIS // FAN

// The pivot (dot at the bottom) is the main structural feature allowing the fan sticks

stacked ontop of each other to rotate out. It opens by pulling the top stick away

from the central origin position and the rest of the sticks will follow as the fan paper

glued to the stick pulls it along.

// This system only works when both the sticks and paper folds

are present. Without the sticks , it would be harder to open and

fold back in the paper folds. With preset length and preset folds,

it ensures the stick to only rotate within 180

degrees and with a resting angle of 45degrees between the

paper folds, creating volume. Extra force to open the folding will

only result the paper to flatten.

13

1.3 VOLUME // FAN

// During week 2’s studio , the

exploration of hexagon shape

planes modified into a volumetric

object made me realise that by

making cuts at the edge ridges

allows for more possibilities in

folding the plane .

// With this , i explored the possiblity of different direction foldings with a forward

bend to get a more evident volumetric 3D object through foldings within foldings.

14

1.4 SKETCH DESIGN PROPOSAL // FAN

// A design that draws the most similarity

to the sketch model reconfiguration,

with foldings within foldings that sits

like a headpiece whilst providing an

aggresive look like medusa’s serpent to

ward off people warning the personal

space required.

// This design emphasises on total

privacy with a full enclosure of the

face whilst still providing vision with slit

cuts made vertically in the middle of a

square to allow folding and thus vision.

// The third design emphasising on

keyword ‘convertible’ , the design

allows for changing level of personal

space as required with a folding design

utilising the folding within foldings

technique as in the reconfiguration

model to do so. The design model

could be folded forward stacking it up

to make a envelope or just a layer for

resting pillow . This provides the comfort

on top of the varying personal space.

15

1.5 REFLECTION // FAN

// In this module , the given task of drawing out the fan on paper and digitally on Rhino

was a starting point on how drawings can be

translated from different mediums to another. The measurements taken are meant to be

measurements that has purpose and objective truth to it as Heath,Heath and Jensen’s

(2000) 300 years of industrial design’s mentioned and dimension written for the object

drawn only has dimensions that are objectively useful.

The measurement of the actual fan also helps me to make a true to size model as i

could key in the exact length or height of the fan . This was also a great starting point for

me in learning to make models in Rhino and learnt that there is always a faster and more

efficient way of doing thing in Rhino , like polar array instead of copy pasting 20 similar

elements.

The system analysis model making got us to start exploring design possiblities through

model making which influenced my sketch design proposals in the end. Sommer’s (1969)

book on personal space helped me identify what kind of personal space i would need

and how people have different kind of personal space requirement depending on the

social situation and environment they are in. This greatly influenced my thoughts and

rationale behind the sketch design proposals made.

16

17

2.0 DESIGN

Amos x Siyu

18

2.1 DESIGN DEVELOPMENT INTRO

// From the last module

proposal #3 , the

concept of foldability

(foldings within foldings)

with ‘convertible’ is taken

forward as i wanted to

integrate a design that

utilises the folding

property of the fan

paper and the

varying personal space

the design proposal was

able to provide.

// By drawing from the Sommer’s reading on Personal Space (1969)

, we defined our varying visual personal space boundaries based

on the type of acquaintances they meet . This is shown by the two

coloured boundary. A more familiar acquaintance allows closer

space interaction and less familiar ones further distance away .

The boundary also takes into consideration that the vision directly

infront of the eyes demands more space as well as the back of the

shoulder as people hovering behind it made us felt uncomfortable

as well as invading privacy of whatever we were doing.

FRONT ELEVATION SIDE ELEVATION

19

2.2 DIGITIZATION v.1

ISOMETRIC VIEW // UNFOLDEDISOMETRIC VIEW // FOLDED

20

2.2 DIGITIZATION v.1

SIDE ELEVATION // FOLDED+UNFOLDED FRONT ELEVATION // FOLDED+UNFOLDED

PLAN // FOLDED+UNFOLDED

21

2.2 DESIGN PROPOSAL v.1

// This design refers back to the design development intro from Module 1 and the personal space defined by us.

We approach the design by trying to have an envelope around the neck that could be adjusted at the front through folding and

unfolding to allow user the ‘convertible’ adjusting levels of envelope according to their use and level of personal space reuquired.

When closer acquaintance approaches, the envelope could be folded down for better vision and closer space and interaction.

The back of the design also employs pyramid shape panels that spreads out pointing outwards with longer and larger panels to

convey the message of personal space required. This is made unadjustable because no matter if the acquaitances are close

friends or not , it is deemed rude to be standing hovering behind someone peeping onto whatever the user is doing .

22

2.3 PRECEDENT RESEARCH // VEASYBLE by GAIA

VEASYBLE

-GAIA(Gloria,Arianna,Ilaria,

Adele). 2010.

(Top & Bottom Left, and Right)

23

// Veasyble’s design is a piece of simplicity with “beautiful intimacy” in mind. It was a design that really shows the piece

as something intimate like the skin yet at the same time, it is something that alienates others who doesn’t understand it.

The usage of foldings allows for a transforming design.Drawing on the left shows the possible folding technique used to

make the ruff piece. On top of being able to change shape , it allows increase in volume of design that could be useful

in conveying voumetric spatial requirements of personal space. The rigidity of the design may indicate a stronger type

of paper used.

// We tried to explore various folding techniques similar to Veasyble’s that could also convey

the transformability and collapsability in the design piece and ended up with Yoshimura’s

folding(top right) from Peter Jackson’s book on Folding Technique and found that it has

strong rigidity when expanded while still being able to be folded into flat piece. This shows the

change in volume & shape made possible through foldings. Square belows foldings were also

explored for its strong rigidty and for deployment as connection.

2.3 PRECEDENT RESEARCH // VEASYBLE by GAIA

TRANSFORMABILITY // FOLDABILITY // SIMPLICITY // INTIMACY // ALIENATION

Folding Techniques -Peter Jackson. 2011.

(Top & Bottom)

24


ISOMETRIC VIEW

FRONT ELEVATION BACK ELEVATION

SIDE ELEVATION PLAN

25


// So while holding true to the v.1’s general design idea of personal space, we implemented a more versatile and more

transformable design based on the precedent and came up with a less organic shape. We used the Square belows foldings on the

shoulder for its strength to hold up the whole model allowing for the two front element to be able to transform freely as v.1 design

may struggle to hold up on shoulders.

This folding is also chosen for its simplicity which doesn’t overwhelm the front and back Main Yoshimura folding.

The back piece remains unfold-able whilst the front two piece are able to fold open in such a way that evokes the same feeling

of intimacy and alienation. Yoshimura’s folding is a great way to show this with its potential to fold open to a nice shape that

envelopes our face like skin whilst those who don’t get the message from the model piece will be alienated, stopping them from

disturbing the user’s sleep.

Portability also part of the design when the model is folded down into almost 2D volume that is easy to carry around like totes bag.

BACK & FRONT VIEW // FOLD OPEN PLAN VIEW // FOLDED PORTABILITY

TRANSFORMABILITY // FOLDABILITY // SIMPLICITY // INTIMACY // ALIENATION

26

2.5 PROTOTYPE v.1 + TESTING EFFECTS

// The fig. on the left shows the shoulder fold connected to one of the front yoshimura folding using steel

wire for moveability around the connection. This make the point a pivot point the rest of the foldings

open from. The folding is in close fold state.

// For this prototype , we tested different types and weightage papers(black/white) 150gsm printing

paper,200gsm tracing paper and 250gsm pasteboard sheet) to see how the paper holds up and when

put to pressure.

PROTOTYPING // MATERIAL RIGIDITY STRENGTH

PRINT PAPER // 150GSM

// good balance of rigidity and

easy in shaping the foldings .

TRACING PAPER // 200GSM

// Holds up well but hard

to shape the foldings and

forms holes on the edges

when folded.

27


// we started to think in terms of how we could adjust lightings and atmopsheric effects within the design as well as

volumetric expansion effects . For lightings+atmosphere, we explored the paper material visiblity & holes cut out

while for volumetric expansion , we tried modifying yoshimura foldings.

LIGHTINGS+ATMOSPHERE // PAPER MATERIAL VISIBILITY

TRACING PAPER A LITTLE LIGHT // AWARE OF DAY/NIGHT OUTSIDE // USER VISUALLY HIDDEN // ONLY BLURRY BODY CONTOUR // DIM LIGHT COSY ATMOSPHERE

NO LIGHT // UNAWARE OF OUTSIDE // USER COMPLETELY HIDDEN // ISOLATED DARK ATMOSPHERE BLACK PAPER

28


// when testing out the yoshimura folding , we found out that the folding expands wider

at the top as it flares out when the bottom of the folding is help down as the top folding is

pulled open. This might work well with the back model piece as the top part would be the

eye level of other people as they hover around behind us invading our privacy.

// The cut out shapes allows for a play of light and shadow creating a ‘jungle-y’

atmosphere like how leaves on trees creates shadows and tiny light holes coming through.

It also allow users to gain clear vision when they want to , and move away from the holes

when they needed space.

LIGHTINGS+ATMOSPHERE // HOLES CUT-OUT

VOLUMETIC EXPANSION // YOSHIMURA FOLDINGS

29

2.6 REFLECTION

// In this module , it was about solidifying the ideas from previous module and then putting into

actual digital designs on Rhino. When we started working on v.1 Rhino model , we went with a

really organic design that was based on a couple of curves connected by developable surface

however the connection surface may no longer appear smooth as mentioned in ‘Surfaces that

can be built from paper’ (Pottmann et al, 2007) . The precedent gave inspiration in terms of the

materiality and its functionality to our design .

In ‘Lost in Parameter Space?’ (Scheurer & Stehling, 2011) , they

talked about abstraction in terms of how an object’s complexity is determined by the length of

shortest possible description which relates to how we picked out the keywords that could

describe the precedent . This made me realise that our design decision only need to show what

was the key factor behind our deisgn(ie. personal space) as in the v.2 proposal. This extends to

the abstraction of material as we explored the properties of materials in prototypes which could

guide us in designing a valid geometry in CAD program(Scheurer & Stehling,2011).’Reduction’

stresses on the importance of optimisation of description or process that is reflected in our

testing effects as we tried to come up with the optimal way of showing others that personal

space is needed ,being our key factor.

30

31

3.0 FABRICATION

Amos x Siyu

32

3.1 FABRICATION INTRO

// In module 2 , we redesigned our model after researching on Veasyable’s piece

to a design with greater transformability and less organic shape based on folding

techniques like Yoshimura and Square Belows.We also explored the possiblities

of the foldings for volumetric expansion. We tried to evoke the same feeling of

intimacy and alienation at the same time with the front unfolding piece. Portability

was also emphasised .

Then we prototyped the model and came up with 150gsm printing paper as the

best amongst the paper we tested for its property . We also explored the lightings

and atmosphere and although tracing paper gives nice atmosphere, it tore on the

edge and because it is for sleeping purpose, the lights maybe unnecesary.

33

3.2 DESIGN DEVELOPEMENT+ PROTOTYPE v.2

Some of the main feedback & questions raised from M2 design review that were taken into consideration were:-

// The model design doesnt appear to be one piece design, no seamless transition between the two folding . // The sharp edges of the folding and the material used may be not as comfortable. // The shape of the folding ratio used may be too close to the body skin . // Consideration of how to attach the model to the body. // How to unfold it into a volumetric design model.

// We attempted a different orientation & positioning of the foldings being attached to each other with the yoshimura folding hooked onto each other. The square belows foldings is removed for a more ‘one piece’ and seamless design.

// One piece of the folding will cling onto left/right side of neck while the other hangs off of it. This however still makes it uncomfortable for user and it just barely holds up.

// This modification still incoporates the volumetric expansion of the folding for the intimate skin and alienation effect.

PROTOTYPE v.2 // SEAMLESS ONE PIECE DESIGN

foldings edges too close to skin.

34

3.3 DESIGN DEVELOPEMENT + PROTOTYPE v.3

PERSPECTIVE VIEW

PLAN VIEW

FRONT ELEVATION

SIDE ELEVATION

35

3.3 DESIGN DEVELOPEMENT + PROTOTYPE v.3

// After discussing with tutor on prototype v.2 , we decided that the extra piece hanging off of the

main model doesn’t really represent a unified piece. So we take on the idea of simplicity in Veasyable

and came up with a single piece that sits on the shoulder’s back like a hoodie that could fold open

and close back in. This piece doesn’t have the edges touching the skin reducing the discomfort but

it is still in the way if there’s alot of head movement within the space. However , due to small opening

design, the design could not be fully opened as it hits the head half way through .

// Following the adjustment , we wanted the piece to exhibit

complexity in the abstraction of materiality contained within

its simplicity instead. The durability(material complexity) of the

150gsm print paper as a piece to wear(simplicity) may be

questioned so we wanted a rugged looking paper to show this

complexity. To do this , we scrunched up the paper to observe

the effects.

PROTOTYPE v.3 // MATERIAL COMPLEXITY WITHIN SIMPLICITY

PROTOTYPE v.3 // SIMPLICITY FORM + COMFORT

150GSM PAPER // BLACK 180GSM PAPER // WHITE

// the paper material struggles to hold up its shape after scrunching. It was harder to fold back into shape. It looked like garbage bag instead of what we had in mind.

// Holds up better than black but holes and tears occured. White showed the rugged look better.

36

3.4 FINAL PROTOTYPE DEVELOPMENT + OPTIMISATION

PROTOTYPE DEVELOPMENT // ATTACHING TO BODY // VELCRO

// After v.2 prototype failing to use

the design form itself to attach the

piece to body ,we approached

stitching to attach model to a

t-shirt.

// We thought of making the

piece detachable from t-shirt so

we used Velcro stitched to both

model and t-shirt.

// Then we tested the strength of the velcro by applying pulling force at

the top as we would be when pulling open the hoodie . The velcro holds

on well and is easily removable when pulling it open from velcro at the

bottom. However it leaves a velcro patch on the shirt itself when removed

and appears unsightly when attached on as the velcro is clearly seen.

37


OPTIMISATION // ATTACHING TO BODY // DIRECTLY ON SHIRT

// Even though the velcro was convenient and portable , it made the model’s simplicity design

unsightly , and so we resolved to stitching the model directly to the sweater . It gave a clean

aesthetic appeal to the whole design . We also chose white sweater to stitch the model to as it

blends in well with white paper material used.

38


PROTOTYPE DEVELOPMENT // FOLD&UNFOLD MECHANISM // DRAWSTRING ROPES + HOLES

DRAWSTRING+HOLE // Addressing the problem of folding&unfolding mentioned,

we used drawstring ropes through holes made at every repetition of the folding

controlling the foldings at each intervals as well as unfolding the whole model fully.

// we used a black spring stop toggle so that we could push the model foldings into an almost flat folded piece and lock it in place,folded.

// we then tied a knot big enough at the bottom ends so that the string doesn’t comes off the model and provide the resistant force at the bottom when pulling the foldings open .

39


OPTIMISATION // FOLD&UNFOLD MECHANISM // CLEAN & SMOOTH

// To make the simplicity design stand out , we had to make it a clean design and so we removed any frizzy ends of the ropes that looked aesthetically unpleasing even though the bits will be covered as it is the side being stitched on .

// The rope used is a little rough and the constant pulling of it results in friction which may deteriorate the hole.widening it as well as making it harder to pull the rope .

To fix it, we used aluminium hole reinforcer making the pull a smoother process. The reinforcer used has similar colour to the rope to keep the design aesthetics true to simplicity and doesnt overwhelm the main model.

SMOOTH // HOLE REINFORCER

CLEAN // FRIZZY ENDS CUT

40


OPTIMISATION // DESIGN COMFORT // FOLDING RATIO

// The previous(above)

folding uses the ratio of

2.4.4.2 which resulted in a

tighter corner and smaller

head space within. Head

was too close to folding

edges for comfort .

2

2

4

4

6

3

3// To solve this problem ,we experimented the

foldings and came up with 3.6.3 ratio foldings

on bigger paper dimension. This ratio has more

‘open’ corners and less enclosing space for

more head space within .The comfort level

increases.

// This ratio still uses the same yoshimura

technique .

RATIO // 3.6.3

RATIO // 2.4.4.2

41


OPTIMISATION // MATERIAL USAGE // SYNTHETIC PAPER

PRECEDENT // PAPER WALLET

// We referred to mi-wallet’s material in our search of durable paper that could portray the material complexity (durability) as mentioned in v.3 prototype , visually. Having owned a paper wallet for years , it definitely shows durability as it does not tear unless put to scissors edge and it doesn’t change shape easily unless folded with a solid line made.

MATERIAL // YUPO SYNTHETIC PAPER

// We then found the yupo synthetic paper in the local art supply store which shows similar property to the paper used for the paper wallet . It is a 100% recyclable , waterproof, tear-free synthetic paper.

// We put its durability to the test by scrunching the paper up,tearing it with bare hands, and putting it to knife’s edge. Overall it doesn’t tear against scrunching or bare hands tearing except for sharp knifes which is expected.

// it was easy to fold the paper back into the fold shape and hold up its shape even after it has been laid flat due to the folding line not easily removed by the creases/scrunching.

Paper wallet - Mi-wallet. date unknown

42


OPTIMISATION // EFFECTS // RUGGED SCRUNCHED PAPER

// Referring back to v.3 prototype’s key feature design of showing material complexity (durability), the yupo paper was perfect for this purpose. It could be scrunched to give it a rugged , durable look without ruining the paper’s strength.

// While it is scrunched , it also reduces the sharpness of the edges of the folding on the inside for greater comfort whilst still having the edge to warn against outsiders . At the same time , the rugged appearance looks more organic and less machine-like creation for a more natural environment to sleep in. // This method of testing physical model for aesthetics effects relates to Lisa Iwamoto’s Digital Fabrications: architectural and material techniques(c2009) where she mentioned that designers shift between physical model and digital medium to discover new possibilities and limitations , and this scrunched look would not be discovered if we solely work on digital medium.

// YES // PERSONAL SPACE DEFINED // ET NATURAL ATMOSPHERE WITHIN

// RUGGED DURABILITY

BETTER THAN HOODIE?

43


OPTIMISATION // DIGITAL FABRICATION // CARD CUTTER

// For our design , we needed to fold the yupo paper into accurate foldings for a clean aesthetic look. To do so , we used 2D fabrication that only involves two-axis motion done with a moving cutting head(Kolarevic,2003) as our design was based on a flat surface paper . This was done with the card cutter machine to help us score the folding lines. This card cutter is controlled by computer which cuts or score with a cutting knife on a 2D plane based on the data fed to it. To do this , we created two surface files in rhino based on the folding lines , with one folding line that follows the ridge fold (left) and the other follows the valley fold (right) . We first put the yupo paper to score based on the first file(left) and then flipped the paper onto the other side and score it based it on the second file (right). The machine controls its score and cuts based on the colour of lines indicated in the digital file , in this case , red was the colour to score the line . The maximum thickness the card cutter was able to process was 1mm and the yupo paper was thinner than that .

// Because we modelled our design foldings based on the whole 600x900mm paper size and measured the measurements of each foldings into rhino , the arrangement of the unrolled elements into a nested cut file(combination of the two file(left&right) fits exactly onto the 600x900mm dimension.

44

3.5 FINAL DIGITAL MODEL PERSPECTIVE VIEW // OPENED

BACK ELEVATION // OPENEDFRONT ELEVATION // OPENED

SIDE ELEVATION // OPENED PLAN // OPENED

45

3.5 FINAL DIGITAL MODEL PERSPECTIVE VIEW // FOLDED

SIDE ELEVATION // ON TABLE

PLAN // ON TABLE FRONT ELEVATION // ON TABLE

46

3.6 FABRICATION SEQUENCE

1 The template file made in the Rhino program is cre-ated for use with the cut cutter machine to make score lines .

STEP // 1 STEP // 2 STEP // 3

2 The scored lines makes it easier & accurate to fold with hand.

3 Then the paper is scrunched with hands for the rugged look .

7 The drawstring ropes are threaded through the holes made from one end to the other .

8 The drawstring stop toggles are put in at the top end .

STEP // 7 STEP // 8

9 The drawstring rope is tied at the other end and frizzy bits chopped off.

STEP // 9

47

3.6 FABRICATION SEQUENCE

STEP // 4 STEP // 5 STEP // 6

4 The scrunched paper is then refolded according to the previous scored lines .

5 Holes made at the edge of folding with hole puncher at every intervals.

6 Fixing the holes with hole reinforcer.

10 The model is then sewed onto the shoulder part of the sweater.

STEP // 10 STEP // FIN.

11 The model is complete.

48

3.7 ASSEMBLY DRAWING

ASSEMBLY COMPONENTS

1 MAIN FRAME FOLDING

2 DRAWSTRING ROPE

3 STOP TOGGLE

1

2

3

3

2

49

3.7 ASSEMBLY DRAWING

ASSEMBLY STEPS

A // 1,2 B // 1,2

C // 2,3 D // 2

50

3.8 COMPLETED 2ND SKIN // PHOTOSHOOT

51

52

3.8 COMPLETED 2ND SKIN // IN-USE

// OPEN LAWN

53

3.8 COMPLETED 2ND SKIN // IN-USE

// STUDIO ROOM

54

3.8 COMPLETED 2ND SKIN // IN-DETAIL

55

3.9 REFLECTION

// In M3 Module , the design development constantly involved back and forth usage of 3D

CAD program like Rhino and the making of 3D physical prototype. These two medium of design

compliments each other in the design development phase. The 3D CAD allows for new dimension

of thinking and modelling designs as Iwamoto (c2009) mentioned in comparison to 2D CAD designs.

While , the 3D physical model made us realise the ‘power of making’ as mentioned in the lecture

as we constantly learn new possibilities and limitations of the designs we did in the CAD program.

Only through 3D physical prototype that we realised the limitations of the material in some of our

designs and the very realisation made us looked harder for the ‘perfect’ material to show the idea

in our design. The new possibilities stumbled upon in prototyping these models was also a delightful

experience. All of these back-and-forth development was done with precision and in efficient

manner through CAM (Computer Aided Manufacturing) process. Rhino program allowed us to

unroll a 3D digital model into 2D surface so that we could manufacture the prototype parts using

the 2D Fabrication machine namely the cut cutter that utilises two-axis motion moving cutting head

(Kolarevic,2003). Before M3’s fabrication , the foldings and lines for folds were hand drawn which

made the actual folding unaccurate leading to abnormal shape than what we had designed in CAD.

CAM’s precision in scoring lines for folds made our design more alike to digital ones and allowed for a

clean and precise look which we wanted.

The readings helped clear up on what the actual making process we were going through and how to

make full use of the CAD, CAM and physical models to come out with the best designs.

3D PHYSICAL PROTOTYPE 2D CAM

3D CAD

3D FINAL PHYSICAL MODEL

56

57

4.0 REFLECTION

58

4.0 REFLECTION

// Throughout the whole course, the usage of digital design in our design process was a productive one as I felt that it has really allowed us

to express the idea we had in mind in a clear visual manner. The course module made me rethink the way I approach my design process as

I learn that physical model prototyping process opens up more design possibilities rather than just building it to see how it looked in physical

form. This holds true to the saying that designers never stop designing till the very end. The fabrication module of the course opened up a

new medium of creation for me as the module were laid out in a clear way on how to go from digital models to physical models through

unrolling of 3d models to 2d in an efficient manner to choosing the suitable machine for fabrication. These digital design and fabrication

programs was a challenging one as it was a whole new process to me which we had to learn whilst already designing model on it. It

definitely pushed me to work harder in learning it but ended up neglecting the design prototype explorations in M2 .

M2 & M3 module co-operation with Si Yu made me realised the importance of good communication within a team. She has contributed a

lot to making this project this possible however it wasn’t without the hurdles as we struggled to find a communication medium as sometimes

she might struggle to find the right way to put forward what she had in mind as English was not her native language which sometimes left us

both frustrated. Thankfully, we overcome the problem and came out with a design that we both had inputs in.

While the project has objective brief and a system to based our design on, the course stresses on the exploration of digital design and

fabrication to come up with solutions and limitations within the digital world itself. When we were given the object for exploration of system in

Module 1 , I realised I have dwelled too deep into the system of panel & folding itself(mainly folding) which made me stuck onto the idea of

using paper as I thought that paper was the best way of showing folding which we did achieved.

This made our project lacked the deeper exploration of digital fabrication process as what the module would wanted us to explore as some

other’s model would have as most of their model required cuttings and assemblage which brought up more complication to prototype on .

59

Looking back in hindsight, I should have focused less on making a model with paper

that is following adherently to folding and start exploring other designs not involving

paper(requiring cutting) that may not fold as well (or not fold at all) but showed a more

detailed fabrication process.

With all that being said , our project was not all downs as we had our ups as well when

we explored the materiality within the prototype(scrunching effect) and came out with a

key feature instead in M3. This relates to what Scott Marble (2008) quoted in ‘Imagining

Risk’ that craft, identified with “workmanship of risk” – where the result of working with a

material is dependent on the judgement, dexterity and care , is essential for innovation

. The use of digital technology in designing and fabrication pursues for something more

certain and predictable which is useful for physical and environmental behaviour but

the root of innovation from risk should not be erased. Human and technology relation

should continue on through crafts like it did for our design through prototyping which was

designed based on the risk of human’s mind in a digital program and fabricated .

60

61

5.0 APPENDIX

62

Page Drawings Computation Model Fabrication Model Assembly Photography Writing Graphic Design Page Drawings Computation Model Fabrication Model Assembly Photography Writing Graphic DesignCover rr r 33 r r r rr r

2 r r 34 r r

3 r r 35 r rr rr r r

4 36 r rr rr rr r

5 r 37 rr r r

6 rr 38 rr rr rr rr r

7 r r 39 rr rr rr r r

8 r r 40 rr rr rr rr r

9 r 41 rr r r

10 r r 42 r r r r

11 r r r 43 r r r r

12 r r r 44 r r

13 r r r r 45 r r r

14 r r r 46 r r rr rr rr r

15 r r 47 r rr rr rr r

16 r r r 48 r r r

17 r 49 r r

18 r rr r r 50 rr r

19 r r 51 rr r

20 r r 52 rr r

21 rr r 53 rr r

22 r 54 rr r

23 r rr r 55 r r

24 r r 56 rr r

25 r rr r 57 r

26 r rr rr r r 58 r r

27 r rr r r r 59 rr r r

28 r r rr r r 60 rr r

29 r r 61 r

30 rr r 62 r

31 r 63 r

32 r r 64 rr r

TZE WAY NG (AMOS)

SI YU CHEN

CREDITS

5.1 CREDITS

63

5.2 BIBLIOGRAPHY

Heath, A, Heath, D, & Jensen, A 2000, 300 years of industrial design : function, form, technique, 1700-2000, Watson-Guptil, New York.

Sommer, R 1969, Personal space : the behavioral basis of design, Prentice-Hall, Englewood Cliffs, N.J.

Pottmann, H, Asperl, A, Hofer, M, & Kilian, A 2007, Surfaces that can be built from paper in Architectural Geometry,Bentley Institute Press, pp. 534-561.

Scheurer, F, and Stehling, H, _2011, Lost in Parameter Space?, Wiley, pp. 70-79.

Kolarevic, B 2003, Architecture in the Digital Age – Design and Manufacturing , Spon Press , London.

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

Marble, S 2008, Imagining Risk, in P Bernstein & P Deamer (eds) , Building the Future: Recasting Labor in Architecture, Princeton Architectural Press, pp. 38-42.

Jackson, P 2011, Folding techniques for designers : from sheet to form , Laurence King Publishing , London.

Pizzilli, G, Petrakis, A, Pacini, I, Bacci, A n.d., VEASYBLE, viewed 1st April 2016, < http://www.veasyble.com/homeeng.html>

Mi-Wallet , n.d., Paper Wallet , viewed 25th April 2016, < http://www.mi-wallet.com/p/paper-wallet.html>

64

Documents

Module 4 tze way ng 737960