Digital Fabrication Studio v.0.2: Digital Fabrication and FabLab ecosystem
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Transcript of Fabrication
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MODULE 3: FABRICATION By Zac Goldberg
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Drawing one:
This Recipe depicts that of Move-ment, as the lines of the strabwerry go in the direction of the seeds themselves, the natural flow, and produce the criss-cross effect.
Drawing twp:
This Recipe/Drawings based on bal-ance, depicts the contrasting shades from the pattern, extruding from the first drawing and using tones and shades to produce the diamond shape.
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Drawing/recipe 3 is based on sym-metry, using the natural directions of the pattern, by cutting it in half clearly demonstrates the repetetive lines evident
ANALYITICAL DRAWINGS:
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Finding the pattern - using curves to connect the dots
nding the pattern - using abstract curves to connect the dots
Going from the left hand side to the right, connect-ing where the seeds would be.
Going from the left to right, connecting the dots/seeds and producing the triangle shapes
The triangle shapes extruded from the recipe.
The triangle shapes extruded from the recipe.
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Following on from the triangle pattern, smooth the edges of the triangle to form a thiner - triangle baseed shape.
The collection of the triangles together, joined at the point - flipped and view from different perspective
Interaction - How is the shape / lattern going to be held - develop-ment of the idea of using a handle?
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Original sketch of interaction idea of Lantern - How the points connect to each other - forming a base that hand could hold, .Sketch for potential clay model - interac-
tion between lantern and hand
The development of ideas - being able to hold the lattern - hand support underneath - triangle is stretched
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First steps of making 5 equally por-tioned pieces of clay, acting as the pilars and the stretched triangles, forming the outside shell.
Joined together -Rough first odel - outside strucure and inside struc-ture evident.
The internal part of the structure - smaller scaled triangles, enabling a base to interact with human touch.
MODEL MAKING PROCESS..
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MODEL/ATTEMPT ONE:
Using different comands and ele-ments of Rhino, I was able to success-fully digitise the model..
Evident are the two different views, on wired view.
Perspective View
Top View.
MODEL/AT-TEMPT TWO:
Further Develi-oping the model, enabling for future panelling, was the increase of size of the triangles re-ducing from 5 to 4.
Perspective View’
Top View
DIGITISING THE MODEL :
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LIGHT AFFECTS:
There are the precedents/ inspirations for the lighting affects I was look-ing to explore. The idea of the hollow shapes, able to pass light through either direction was something interested me, and something I wanted to bring into my panelling.
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PANEL IDEAS:
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PANEL IDEAS:
An example of the paneling, flipped side
AA close up of the panel-ling, bunched together through the sideways grid
A different perspective, showing the shape as a whole.
I took the idea of the pnetagon shape to a dif-ferent level/idea. It was still raised but with a much bigger hole, giving a different lighting perspective.
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PANEL IDEAS:
Using the recipe of balance, that of light and shade I made this panel, which was the evntual one. Once again I made a truncanated pyramid and also arranged the panels side by side. Giving a more cohesive appearance.
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After determining the panel, the next step was get the prevelance of the panels, this one showing a balance amount.
This depicts a lot of panels, with the potential to be squashed and loose the 3d affect. Something I decided against.
SHAPE OF PANEL
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PANEL IDEAS:
These pictures highlight the panel on the shape being quite spaced, I liked the grouping, but the spacing was too big.
The close up of the smaller spaced panelled shape.
The panel I opted for. A bit taller and a smaller hole, giving a dif-ferent effect.
A different perspective, showing the outside.
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I was unhappy with my current form, and attempt-ing to relate back to my recipes, I opted for 3 shapes, related back to orignal triangle from the pattern.
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MODEL REFINE
The way the individual shapes interacted was changed to make it a more cohesive and structured lantern. Using the individual shapes I placed them back by back, having the opportunity for light on all corners
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The final panelised shape of the lanterrn, close up perspective and top views, able to get a sense of the slight 3d panels.
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ISOMETRIC
Looking at the different layers and components of the one structure - it is broken down into 4 components.
This is the top view of the structure, showing the layers branching wider and thicker.
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INTERACTION
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CARD CUTTER/TRIAN-GULATED FACES
The unrolling procces began for fabrication. However a problem occured in the proccess as I realised the surfaces were curved. This was easily fixed as I used point triangulate faces on my panel and mapped and unrolled it again.
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PROTOTYPES
The first prototype was successful, one line of the structure.
This was the whole individual compo-nent, with some lighting affects.
Next prototype was half of an indivu-dal component. Still successful.
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INTERACTION
Holding it from the top, almost like a chandelier
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Some different lighting affects us-ing the Led lights.
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RFLECTION, READNG, LECTURES
The Lectures helped me with stimulating the design proccess, and getting ideas to from in my head to rhino and to the model itself . Moreover, the lectures and readings summised on the idea of experimenting with different shapes and siruations. The advantage of using programs like Rhino, obviously a well known source is that you are able to completely go over any boundaires and make shapes or patterns right from your imagination. However, whilst this is a pure advantage, computers have limitations too, particularly for inexperienced users. One of the mishaps I encountered was the unrealistic components of my form, and thereby the need to adapt and formulate a proccess that would be realistic to build. Clearly Rhino doesn’t have a tool for being realistic, so it is up to the user to create such a boundary. Further, in the unrolling and cutting proccess, there were many components necessary to have to be built be manual work, as some of the cutting and scoring was not completely realistic. Whilst I man-aged to get everything complete as I set out to do, I feel I could’ve improved the accurany, and not have to use as much tape as I did.