digital design & fabrication m4

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DIGITAL DESIGN AND FABRICATION SEMESTER 1, 2016

YAWNING SANCTUARY Tatyana Procak 695593 James Park, Tutor ial 2

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0 .0 INTRODUCTION 7

1 .0 IDEATION 9 1.1 OBJECT 10 1.2 OBJECT AND SYSTEM ANALYSIS 12 1.3 VOLUME 14 1.4 SKETCH DESIGN PROPOSALS 15

2.0 DESIGN 19 2.1 DESIGN DEVELOPMENT 20 2.2 DIGITALIZATION AND DESIGN PROPOSAL V.1 21 2.3 PRECEDENT RESEARCH 22 2.4 DESIGN PROPOSAL V.2 24 2.5 DESIGN PROPOSAL V.3 25 2.6 DESIGN PROPOSAL V.4 26 2.7 PROTOTYPE V.1 AND TESTING EFFECTS 27

3 .0 FABRICATION 29 3.1 FABRICATION 30 3.2 DESIGN DEVELOPMENT AND PROTOTYPE V.2 31 3.3 DESIGN DEVELOPMENT AND PROTOTYPE V.3 32 3.4 F INAL PROTOTYPE DEVELOPMENT AND OPTIMISATION 33 3.5 F INAL DIGITAL MODEL 34 3.6 FABRICATION SEQUENCE 35 3.7 ASSEMBLY DRAWING 36 3.8 COMPLETED SECOND SKIN / SLEEPING POD 37

4.0 REFLECTION 39 4.1 FUTURE MODIFICATIONS AND MODIFICATION TESTING 40 4.2 REFLECTION 41

5.0 APPENDIX 43 5.1 GROUP WORK CREDITS 44 5.2 BIBLIOGRAPHY 45

0.0 INTRODUCTION Digital Design and Fabr icat ion explored the concept of personal space and chal lenged the ideals of a s leeping pod. A four stage process cr i t ical ly develops an idea into a f inal design suitable to be considered a s leeping pod. Module 1, ideation, analyses objects in order to determine the rules which def ine i ts nature as wel l as developing our f i rst concept sketches. Fol lowing with module 2, design, these mere sketches develop through cr i t ical thinking and analys is into prototypes for poss ible s leeping pods. Developing further f rom module 2 the fabr ict ion stage, module 3, al lowed the design to come into f ruit ion through varying techniques. F inal ly, the module 4 analyses and ref lects on the f inal product, the process and the effect iveness of the problem-solv ing resolut ions.

“ An unski l led maker, hi t t ing the l imits of their abi l i ty, might just stop. An expert , though, wi l l f ind a way through the problem, constantly unfolding new possibi l i t ies within the process.” - Daniel Charny

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1.0 IDEATION 1.1 OBJECT 1.2 OBJECT AND SYSTEM ANALYSIS 1.3 VOLUME 1.4 SKETCH DESIGN PROPOSALS

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1.1 OBJECTSECTION AND PROFILE SYSTEM

A system is “a set of things working together as parts of a mechanism or an interconnecting network [forming] a complex whole” (Oxford Univers i ty Press 2016).

A way to analyse a complex system is through the method of ‘sect ion and prof i le’. Creating a sect ion and prof i le system al lows an object to be divided into zones. This separat ion into a somewhat exploded form helps promote the understanding of the object geometry and the rules which govern i ts shape, mater ial and movement.

MEASURED DRAWING of SLINKY

“Every mater ial has i ts own set of physical and manufactur ing character ist ic degrees of expansion and contract ion under var ious condit ions” (Heath, Heath & Jensen 2000) and through measurement and analys is , ourknowledge of these character ist icscan be improved.

Plan of S l inky

Elevation of S l inky

Section of S l inky Cross Sect ion of S l inky

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DIGITAL MODEL

Perspective of S l inky Extension Axonometr ic of Pass ive State Perspective of Angular Extension

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1.2 OBJECT AND SYSTEM ANALYSISANALYSIS OF OBJECT

In i ts in i t ial state, a s l inky is in compress ion. I t i s acted upon by gravity which pul ls the object into the hol low, cyl indr ical shape.

When a hor izontal force is appl ied to the top of the s l inky, the cyl indr ical shape deforms due to the f lexibi l i ty of the structure. I f the force is st rong enough to make the object ‘top heavy’, gravity wi l l pul l overhanging coi ls towards the ground.

As the in it ial coi ls of the s l inky topple and fal l to the ground, a r ipple effect occurs, as the remaining coi ls fol low suit . Dur ing this fal l ing motion the elast icity of the s l inky is witnessed as i t st retches and forms an arch. The extension f rom one loop to the other var ies as the dynamic nature of the object creates constant change and adaption.

The dynamic movement of the s l inky is due to i ts cyl indr ical design in a l ight, plast ic mater ial (Heath, Heath & Jensen 2000). The plas icity al lows for force to be accommodated for as i t i s f lex ible and able to mold in al l di rect ions.

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ABSTRACTION OF OBJECT

Analys ing the rules which govern an object requires s impl i f icat ion throughcompartmental isat ion of the object into s imple geometr ies as Enr ic Miral les and Carme Pinos descr ibed in ‘How to lay out a croissant’.

In order to fol low this method of analys is , a ci rcle can be repeated to form the basis of the s l inky.

Once in this form it becomes clear that the angles between each plane makes a unique set of motions physical ly poss ible.

Circles forming extended shape of s l inky Circles analys ing s l inky form with var iable angles

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1.3 VOLUMESKETCH MODEL

RECONFIGURED MATERIAL SYSTEMThrough appl icat ion of a sect ion and prof i le analys is , the s l inky is s impl i f ied into repit i t ions of the circle. This sketch model aims to explore and abstract the active state of the s l inky.

By connecting each circular plane from a s ingle point and alter ing i ts angular deviat ion f rom the ground plane, the motion of a s l inky in act ion is able to be model led. Determination of these angles see that the closer to the ground surface a circular plane is , the smal ler i ts angle of deviat ion.

Elevation of Sketch ModelPlan of Sketch Model

Perspective of Sketch Model

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1.4 SKETCH DESIGN PROPOSALSCONCEPT 1 JOURNEY / DEVELOPMENT / CONNECTION / EXTENSION / FLUCTUATION

Taking the circular geometry of the s l inky and abstract ing this form into volumous port ions a f luctuating surface is created.

Di lut ing the form of each panel al lows for mult iple relat ionships intwined with one’s personal space to be represented.

RESPONDING TO PERSONAL SPACEOne’s personal space var ies in accordance to their environment and the people within i t . These dif ferences are represented in this design through the f luctuating cyl indr ical panels encasing the body. This concept encapsulates the concept of var iat ion in personal space respective to one’s relat ionships and connections, aiming to represent these dist inct groups through varying patterns.

Section of DesignAnalys is of Design Panel Var iat ions

Front E levation

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CONCEPT 2 HELIX / ENCIRCLE / INTERVALS / PROTECTION / SPACE

RESPONDING TO PERSONAL SPACEPersonal space is individual, responding to each person’s sensit iv i t ies. Within this design I looked at how there is a permanent, personal boundary according to these sensit iv i t ies before the dynamic changes occur in relat ion to the environment. The wrapping of a wire around the body, in a hel ix format, i s used to interpret these sensit iv i t ies in accordance with the user’s body. The distance away from the body and the regular i ty of the loops var ies, forming larger loops around areas that the body inst inct ively protects.

The location of the wires that form the barr ier of personaldif fer depending on the place on the body they cover. This sect ion shows the var iat ion.

Plan view of this design explores the character ist ics of a hel ix . The formation is deformed from a regular hel ix in order to incorporate the need for varying levels of personal space.

Section of Design Plan of Design

Front E levatio

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CONCEPT 3 ENCLOSURE / EMOTION / GROWTH / ADAPTION / TRANSFORMATION

RESPONDING TO PERSONAL SPACEThis design explores the adaptive nature of personal space. The emotional state of a person and their environment can tr igger var ied needs for personal space. These dif ferent levels can sometimes be dif f icult to i l lustrate however the aim of this design is to be able to transform and extend to form a barr ier . This wi l l dynamical ly adjust to one’s needs of protection as “. . the invasion of personal space is an intrus ion into a person’s self boundaries.” (Sommer 1969).

Side Elevation: Active State Front E levation: Active StateFront E levation: Pass ive StatePlan View: Pass ive State

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2.0 DESIGN 2.1 DESIGN DEVELOPMENT 2.2 DIGITALIZATION AND DESIGN PROPOSAL V.1 2.3 PRECEDENT RESEARCH 2.4 DESIGN PROPOSAL V.2 2.5 PROTOTYPE V.1 AND TESTING EFFECTS

Additional Group Members: Hadar Slonim and Shantelle Blain

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2.1 DESIGN DEVELOPMENTINTRODUCTION

Module 1 began the design process to develop a s leeping pod which accommodates a user’s personal space boundaries. Cr i t ical analys is of the sect ion and prof i le mater ial system led to an understanding of the rules which govern objects and recognit ion of the complex systems involved in each mechanism (Oxford Univers i ty Press 2016). The continual assessment of a design’s feasibi l i ty aided the ear ly development of the design.

Continual assessment of the viabi l i ty of poss ible designs had to also be combined with an understanding of personal space:

Personal space is a region around one’s body which they regard as their own. These “ invis ible boundaries” (Sommer 2000) def ining one’s personal space are unique and vary across the body dependent upon the sensit iv i t ies of the person and their environment.

Module 2 takes this def in it ion of personal space to create a structure to protect these boundaries whi le s leeping. From init ial designs i t has become clear that the themes of enclosure and adaptat ion should be developed within a hol ist ic approach that considers a design’s effect on the user and the environment.

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2.2 DIGITALIZATION AND DESIGN PROPOSAL V.1

Front View Isometr ic View Side View Back View

Plan View

Focuss ing on the themes of enclosure and protection, concept 3 f rom module 1 was developed. The progress ion has seen the design envelope the upper body, forming a protective barr ier between the person and the environment.Analys is of the s l inky inspired the geometr ic f raming with angular var iat ion to mold the design to the body. The design’s f lexible f rame can be contracted and expanded thanks to the mal leable mater ial , s imi lar to the mechanism of a bendable strar, to be adjustable to the needs of the user.Whi le this design offers a physical barr ier , to indicate personal space, i t lacks inginuity and a complexity of form. The dynamic nature is in only one direct ion and therefore lacks depth and volume.

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OLIVIA DECARIS - THE DROP SERIES ENCLOSURE / L IGHT / PROTECTION / INTIMATE / TRANSFORMATION

PRIVATE

PUBLIC

Analys is of publ ic and pr ivate space in the drop ser ies S ide View of Design Proposal V.1 with t ransparent constraint

Image of The Drop Ser ies instal lat ion by Ol iv ia Decaris

(DeZeen Magazine 2009)

The drop ser ies provides an adaptable, secure environment for individuals or groups. The repetit ive ci rcular geometry forms the framework for the structure however due to a lack of vert ical connections between these r ings, a t ransluscent fabr ic is ut i l i sed as the constraining element. Shr inking the r ing framwork as i t extends upwards promotes a sense of secur i ty through i ts enclosure. The constraining element plays an important role in making a comfortable space, as whi le one cannot t ruly see and interact with their environment, they are st i l l intertwined through manipulat ions of l ight and and sound.

The Drop Ser ies blurred the l ine between publ ic and pr ivate. From this research, the methods in which the s leeping pod can interact with the environment broadened, as wel l as the types of mater ials able to represent personal space.

2.3 PRECEDENT RESEARCH

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WINDE RIENSTRA - 2011 COLLECTION GEOMETRIC / STRUCTURE / PROTECTIVE / SHELL / SPACE

Winde Rienstra’ 2011 col lect ion ut i l i ses s imple mater ials in a repetit ive fashion for dramatic effect. The pieces can be classed as objects within the sect ion and prof i le mater ial system, due to the repit i t ion of parts which make up the whole. Plywood is used as the vert ical f ramework that encloses the upper body, where str ing is then weaved to create a strong, yet f ragi le, barr ier . Whi le st r ing is usual ly a del icate mater ial , i ts character ist ics change when pul led taught between two sol id objects in a consistent manner. The moire effect creates the barr ier between the person and the environment.This research has inspired the poss ible development of the s leeping model design to incorporate i ts ci rcular geometr ies on a vert ical scale rather than a hor izontal scale. Rienstra’s i l lus ive effects are motivat ion to perhaps incorporate a pattern or del icate mater ial within the f inal design.Image of Winde Rienstra’ piece from her 2011 col lect ion

(Supertacular 2011)

Indicit ive Barr ierProtect ive FrameworkPubl ic Environment

Analys is of publ ic and pr ivate space in the 2011 col lect ion Concept model exper imenting with vert ical r ings to enclose

the body

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2.4 DESIGN PROPOSAL V.2


Plan View

This design aims to create a barr ier between the user and the outs ide world through the use of vert ical r ings. Movement of these r ings, due to the structure’s attachment to a belt by a pin joint, al lows the user to adjust the r ings to their need to be protected and to be secure. This interpretat ion of an indicit ive barr ier i s inspired through the Winde Rienstra precedent.A clear l ine of s ight is kept to remain aware of the environment whi le s leeping or relaxing. With this design one would lean against a wal l or chair as the f lat back-rest wi l l support the body, whi le the r ings wi l l extend around to offer f rontal protection.

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Plan View

The ‘s leeping pod’ is to be molded for a user however a symmetr ical design does not correspond with analys is of personal space. Personal space boundaries vary across the body and therefore the natural progress ion f rom the f i rst i terat ion of abstract ion was to incorporate asymmetr ical elements.Changes in r ing width in a regular order give the user an isolated space at one end and interaction with the environment at the other. Analys is of mater ial i ty showed a more r igid st ructure would be needed due to the weight of the vert ical elements and therefore mult iple joins were added, removing the dynamic abi l i ty of the f i rst i terat ion, in order for the structure to maintain i ts angular format.

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Plan View

Whi le an asymmetr ical design was in keeping with the def init ion of personal space, the second iterat ion st i l l lacked depth. L ight and shadow play a role in the exper ient ial effects of a design and therefore our next i terat ion focussed on this element.Adjust ing l ight admittance through the structure changes the person’s connection to the external environment whi le st i l l being protected by a barr ier . Whi le the permanent boundaries for one’s personal space are set through the vert ical r ings, the var iable sensit iv i tes of the user can be explored through subtract ion of the vert ical r ings.

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2.7 PROTOTYPE V.1 AND TESTING EFFECTSMATERIALITY

The design is intended to make the user feel safe within i t and therefore thin, plast ic mater ials were not suitable. Instead, woods were researched due to their sol idity and emotional connection to the user. P lywood was chosen due to i ts favourable character ist ics: soft wood, subt le grain.

CURVING WOODThe f i rst step for prototyping is to f ind a way to create the desi red curve. Kerf ing and layer ing of mater ial were tr ial led, however these attempts fai led. The thi rd attempt of curving wood was through a l iv ing hinge pattern, this prototype was successful and was carr ied forward.

THE LIVING HINGEL iv ing hinges are patterns which i f cut into softwood al low the mater ial to bend to a certain degree (Proto Labs 2014). The effects of the l iv ing hinge al lowed the perforat ions to become functional as wel l as aesthet ic. Test ing var ious types of l iv ing hinges was necessary to determine the l ight ing effect and stabi l i ty.A straight hinge was chosen due to i ts st ructural stabi l i ty and uniform effect.

Panel Prototype with l ight effectPanel Prototype with l ight effectPanel Prototype with l ight effectStraight L iv ing Hinge (2)

Straight L iv ing Hinge (1)

2D Hel ix L iv ing Hinge

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3.0 FABRICATION 3.1 FABRICATION 3.2 DESIGN DEVELOPMENT AND PROTOTYPE V.2 3.3 DESIGN DEVELOPMENT AND PROTOTYPE V.3 3.4 F INAL PROTOTYPE DEVELOPMENT AND OPTIMISATION 3.5 F INAL DIGITAL MODEL 3.6 FABRICATION SEQUENCE 3.7 ASSEMBLY DRAWING 3.8 COMPLETED SECOND SKIN / SLEEPING POD

Additional Group Members: Hadar Slonim and Shantelle Blain

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3.1 FABRICATIONINTRODUCTION

Module 2 saw the formulat ion of the overal l design concept. Through modif icat ions and var iat ions, the in it ial vert ical r ing design gained depth and complexity upon the inspirat ion of precedent research, as wel l as research into mater ial propert ies; mater ial character ist ics were a dr iv ing force to the viabi l i ty of the design. T imber was chosen for aesthet ic purposes, and, more specif ical ly, plywood was chosen due to i t being a soft wood. Subtract ion of a l iv ing hinge pattern f rom a soft wood provides the curvature of the panels as wel l as the designed perforat ions. This dual i ty al lows for a s impler, more eff ic ient design.

Module 3 aims to guide the problem solv ing process to further ref ine the s leeping pod design. Whi le maintaining the same concept of s leeping whi le leaning against a wal l or chair , the s leeping pod development disregards the use of a belt , removing the permanence of the structure for the user and also reducing obstruct ion to the poss ible range of movement of the r ings. A review of module 2 highl ighted the fol lowing issues for further development:- Constraint of vert ical r ings to create the intended curvature- Improvement of the mechanism which connects r ings together- Development of the exper ient ial aspects for the userSolut ions wi l l be formulated through a focus on fabr icat ion and prototyping, as digital model l ing, whi le essent ial for v isual isat ion, cannot depict the extent of movement formed by the l iv ing hinge design.

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3.2 DESIGN DEVELOPMENT AND PROTOTYPE V.2

Prototype vers ion 2 aims to address the issues of curvature of r ings as wel l as the exper ience for the user.

In i t ial prototypes, whi le able to curve, needed a constraining force to do so. To address this i ssue str ing was added to the internal st ructure in the hopes i t would hold the curve in place. This st r ing is to be able to be adjusted by the user of the s leeping pod in order to be var iable to the users need.

Ut i l i s ing laser cut panels for precis ion, the aforementioned method of constraint was successful unt i l the structure was subjected to the force of gravity. The f lexibi l i ty of the mater ial far exceeded expectat ions, establ ishing a dangerously weak point in the structural integr i ty at the base of each panel.

The regular patterning in this prototype from the straight l iv ing hinge subtract ion posit ively affects the user exper ience by decreasing the level of dist ract ions and therefore creating a more relaxing atmosphere.

Front View Isometr ic View Side View

Str ing Constraint Mechanism

Method of curving panel us ing str ing

High f lexibi l i ty of panel Point of weakness caused snap

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3.3 DESIGN DEVELOPMENT AND PROTOTYPE V.3The regular patterning from the previous prototype is preserved, for i ts contr ibut ion to a relaxed environment. The development within this i terat ion appl ies to the constraint element and the r ing connection mechanism.To address curvature of the r ings, a force is required to oppose the natural di rect ion of the panel under gravity. This indicates that st r ing is needed to pul l the panel upwards f rom the exter ior of the structure. To test this theory, scrap mater ial was used to mimic a spine. Looping str ing around the rungs al lows for adjustment of personal space boundaries personif ied with the plywood r ings.An unexpected benefit of this prototype was the introduction of ‘portabi l i ty’ , by folding up r ings within the spine, however a disadvantage is the large s ize when folded altogether. Problems also ar ise in the laser cutt ing fabr icat ion, as the longest poss ible panel cannot reach around the body when connected to other panels.

Side View Exter ior constraint holding panel boundaries Exter ior constraint holding panel boundaries Panels folded within spine mechanism

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3.4 FINAL PROTOTYPE DEVELOPMENT AND OPTIMISATION

Facing s ize restr ict ions, plain panels were added to the base of the l iv ing hinge panel to add length. For aesthet ic and structural purposes, two panels were added for stabi l i ty. A s ingle pin joint i s able to connect the panels due to the extension. Rigidity was in i t ial ly thought to be an issue for moveable r ings, however through prototyping this bel ief was disregarded as al l panels forming the r ings could be held together through a nut and bolt attachment, provided that the connection was t ight.Further research into the capabi l i t ies of the l iv ing hinge led to the removal of the cumbersome spine used in the previous prototype. I t i s found that the space between each perforat ion made on a piece of mater ial for the l iv ing hinge is inversely proport ional to the amount of bending which occurs; the more space, the less bending (Proto Labs 2014). Modif icat ion of the laser cutt ing template to account for the amount of curvature required at each point along the panel removed weaknesses within the fabr icat ion mater ial and s impl i f ied the design.As the spine is removed and panels are able to be connected, a handle is cut out of the base panel for convenience.

Three panels providing structural stabi l i ty and length

Modif ied l iv ing hinge and panels connected Separated panels

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3.5 FINAL DIGITAL MODEL


Plan View

The f inal digital model i s in keeping with the f indings made through prototyping. Each r ing is of a regular s ize and pattern to create a calming environment, f ree of dist ract ions. Each r ing has a unique spacing pattern determined through the extent of curvature needed however this can be further adjusted to a user’s desi re with the addit ion of st r ing connecting the ends of the panels. This looped str ing rests comfortably around the wr ists of the user.

A s ingle nut and bolt connection holds the structure together and al lows for dynamic movement of the r ings. Once a user i s f in ished us ing the design, they are able to fold i t up and easi ly carry the s leeping pod by an ergonomic handle at i ts base.

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3.6 FABRICATION SEQUENCE

1. Sort and separate laser cut sheets into workable order.

2. Careful ly remove each panel to prevent snapping of del icate ends.

3. Arrange al l panels in order to al low for a smooth assembly process.

4. Panel lengths are measured and double checked before applying hot glue to attachment areas.

5. Working fast, plain panels are at-tached in order before glue dr ies, and pressed down f i rmly to create a strong bond.

6. Once al l panels are assembled, a nut and bolt attaches the panels in a convenient order.

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3.7 ASSEMBLY DRAWING

Design development increased the amount of sheets of mater ial needed for fabr icat ion and therefore colours ident i f ied each panel and each piece was ass igned a panel number and sheet number for opt imal organisat ion.

As demonstrated in the assembly drawing, a complete r ing is made of three over lapping panels with the l iv ing hinge at one end and a handle at the other. Each panel has a purpose which is integral to the overal l design and effect.

When not in use, the s leeping pod can be stacked neatly and carr ied by a handle.

Laser cutter f i le organisat ion

Panel assembly process of complete r ing

Handle and connection detai ls

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3.8 COMPLETED SECOND SKIN / SLEEPING POD

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4.0 REFLECTION 4.1 FUTURE MODIFICATIONS AND MODIFICATION TESTING 4.2 REFLECTION

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4.1 FUTURE MODIFICATIONS AND MODIFICATION TESTING

Module 3 highl ighted the importance of exper ient ial effects for the user. This can be improved beyond perforat ions within the boundary.

The f in ish of the design is a dramatic factor on user exper ience and therefore test ing was undertaken for poss ible f in ishes.

Wood treatment creates a warm and calming effect on the environment, with the enhanced grain of the wood creating a lovely, abstract pattern.

When painted, the plywood loses this effect. White paint i s disregarded immediately for i ts lack of abi l i ty to hide marks.

Black paint, whi le effect ive in creating a smooth surface, loses the humble effect of exposed wood.

These factors determine a stained t imber f in ish should be implemented for practical i ty, longevity and effect. The internal environment would be stained cedar with matte varnish to create a soothing dark environment, whi le the exter ior would be coated in a jarrah stain with gloss f in ish to contrast the internal st ructure and stand out in the external environment.

Plywood P lywood w gloss

Jarrah Stain Jarrah Stain w gloss

Cedar Stain Cedar Stain w gloss

White Paint White Paint w gloss

Black Paint B lack Paint w gloss

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4.2 REFLECTIONDigital design and fabr icat ion teaches the ‘Power of Making’. The world of design is a complex one, and this course al lows a student to gain a smal l taste of that wor ld. As Paul Loh emphasised in his lectures, “there is no such thing as a bad idea, just a poor ly executed one”.Ignorant to the complexit ies of the non- l inear process of design, the subject chal lenged me, and my perceived l imits , st retching my imagination. The semester’s design improved each t ime problems were resolved, and this process progressed my learning and expanded my capabi l i t ies.Real is ing the benefits of taking r isks, as craft i s the “workmanship of r i sk” (Bernstein & Deamer 2008), provided conf idence in the design process. The growing importance of digital model l ing within the design industry was emphasised dur ing lectures and readings (Ri fk in 2011). Software such as Rhino al lows for digital abstract ion f ree of constraints of real i ty, and I was able to develop the design through an improved understanding of the “restraints and poss ibi l i t ies” of the digital realm ( Iwamoto 2009).Module 1 deeply analysed the complexit ies of objects al ready created. Determining the rules behind such objects al lowed for an understanding of the importance of mater ial propert ies and their inf luence on the design. This understanding formed the basis of my in it ial sketches.Design development was enhanced dur ing module 2 where working with others provided a broad range of ideas and al lowed for an optimised design to occur. I severely underest imated precedents’ abi l i ty to inf luence a design, however upon further study I began to understand that precedents were not only relevant for the in it ial design, but were also helpful when deciding mater ial choices and ref inement of mechanisms, as they are functional concepts within real i ty.Module 2 also began to delve into these designs, quest ioning relevance, practical i ty and effect. I now see upon ref lect ion that the cr i t ical analys is of the design, and the problem solv ing issues that arose, should have been tackled in a more strategic manner through physical prototyping.I didn’t completely understand the true ‘power of making’ unt i l module 3 when the real i ty of making the design set in. I re-al ised the advantages of physical prototypes, as whi le NURBS model l ing al lows for an accurate visual isat ion of the design, i t lacks the understanding of forces within real i ty (Scheurer & Stehl ing 2011). For our design we real ised in this module that digital model l ing could not adequately show the effects of gravity and fabr icat ion restr ict ions. Upon ref lect ion, physical models exposed f ine detai ls , and therefore this process should have begun a lot ear l ier .Ref lect ing on the design process is rewarding as i t shows off the degree of learning. The aspects that I found the most chal lenging were learning digital model l ing, and the use of machinery in the fabr icat ion process, however i t can now be seen that this knowledge is essent ial for a comprehensive design.At the start of the semester I could not imagine that I would be able to develop so much as a designer. Quest ioning, problem-solv ing, and being able to discover and resolve issues, are sk i l l s that wi l l aid further study and future design work.

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5.0 APPENDIX 5.1 GROUP WORK CREDITS 5.2 BIBLIOGRAPHY

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5.1 GROUP WORK CREDITS

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5.2 BIBLIOGRAPHYBernstein, Phi l l ip & Deamer, Peggy 2008, Bui lding in the Future: Recast ing Labor in Architecture, Pr inceton Architectural Press, New York

Charny, D 2011, The Power of Making, v iewed 27th May 2016, <http://www.vam.ac.uk/content/art icles/p/powerofmaking/>

DeZeen Magazine 2009, The Drop Ser ies by Ol iv ia Decaris , v iewed 1st Apr i l 2016, < http://www.dezeen.com/2009/06/29/the- drop-ser ies-by-ol iv ia-decaris/>

Oxford Univers i ty Press 2016, System, viewed 28th May 2016, <http://www.oxforddict ionar ies.com/definit ion/engl ish/system>

Heath, Adr ian, Heath, Ditte & Jensen, Aage Lund 2000, 300 Years of Industr ial Design, Watson-Gupti l l Publ icat ions, New York

Iwamoto, L isa 2009, Digital Fabr icat ions: architectural and mater ial techniques, Pr inceton Architectural Press, New York

Miral les, Enr ic & Pinos, Carme 1991, How to lay a croissant, E l Croquis Publ icat ion , Madrid

Proto Labs 2014, The Secret to L iv ing Hinges the Fold F lat, v iewed 5th Apr i l 2016, < https://www.protolabs.com/resources/ in ject ion-molding-design-t ips/united-states/2014-12/>

Rifk in, Jeremy 2011, The thi rd Industr ial Revolut ion, Palgrave Macmil lan, Basingstoke

Scheurer, Fabian & Stehl ing, Hanno 2011, Lost in Parameter Space?, John Wi ley, Richmond

Sommer, Robert 1969, Personal Space: the behavioural basis of design, Prent ice-Hal l , Englewood Cl i f fs

Supertacular 2011, Winde Rienstra, v iewed 1st Apr i l 2016, <http://supertacular.com/2011/10/winde-r ienstra/>

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