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DIGITAL DESIGN + FABRICATION SM1, 2016 M3 JOURNAL - Sleeping Pod

Ding Wei David Chen (758298)Yuling Guo (717222)

Hao Lin (743375)Michelle #9

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Introduction

In Module 2 we tried to create a sleeping pod that could be used for multiple purposes, and fit a variety of sleeping positions. By focusing on too many potential applications we failed to accommodate the basic criteria, our design was scattered and confus-ing, its intentions were also unclear and as a result our design performed poorly. This time around we changed the fundamental principle behind our design and focused on one sleeping position with one purpose, to create a comfortable and safe sleeping pod. Using our understanding of a skin and bone system we adapted the complex geometry of our original prototype and re-configured it into a structurally sound pod with layers of soft fabric and wool to maximize comfort.

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Design development

The new design focused on comfort and stability. This comes in the form of a new rigid design that still incorporates the original style, whilst making it stable and comfort-able to relax on. The addition of the skin being the fabric stuffed with wool, creates a comfortable pillow for a head to rest upon. New materials were introduced in order to meet the structural requirements of the sleeping pod, by replacing the balsa wood with its much stronger cousin MDF and replacing the steel wires that caused a lot of discomfort with aluminum rods with fixed ends.

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Design development + fabrication of Prototype V.2

As we decided that we neede a more sable and rigid structure we began testing different shapes and forms. In the end we came up with a closed hexagon supported by several triangles and were held together by metal rods instead of the flimsy steel wire that we used earlier. by reapeting the same pattern layer by layer we create a much more stable design that kept the original form.

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Elevation

Plan

Isometric

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Architecture in the Digital Age - Design + Manufacturing/ Branko Kolarevic, Spon Press, London c2003 Briefly outline the various digital fabrication processes. Explain how you use digital

fabrication in your design?

Reading Response Wk 6

Digital fabrication processes often begin with the translation from physical models to digital representations via three dimensional scanning, a process known as “reverse engineering”. Physical models illustrate realistic aspects that cannot be depicted on drawings, producing a more general idea of its purpose and form. These models can then be scanned with two methods, manually digitizing position probes to trace surface features of the physical model and laser scanning. A pattern of points is created from the physical model and is then converted by interpreting software to a close approximation the models geometry.

The other digital fabrication processes are split into two categories, two dimensional and three dimensional fabrication. Two dimensional fabricatiown consist of CNC cutting technology and subtractive fabrication processes. The cutting methods include the use of plasma arcs, laser beams, and water jets to cut different materials of varying thicknesses. Subtractive fabrication processes involves using electro, chemically, or mechanically reductive processes to remove specific volumes of material from solids.

Three dimensional fabrication enlists additive and formative fabrication processes that are capable of creating sophisticated curvilinear forms. Additive fabrication is the layering process that creates solids through a layer by layer fashion, can be done using liquid polymers, metal or ceramic powders and laminated sheets of material such paper and plastic. In formative fabrication materials are deformed and reshaped into desired forms through mechanical forces, restricting forms and either heat or steam.

Using two dimensional fabrication techniques, we were able to laser cut over 200 individual pieces required for our sleeping pod. Without digitally modelling our design we could not effectively calculate the size and form of each individual piece, plus the quantity. Digital modelling also helped us finalize our design, by allowing us to create several prototypes without wasting any raw materials, whilst giving us the ability to freely add, subtract and change the size of individual elements.

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Reading applied to design

How does the fabrication process and strategy effect your second skin project?

Laser cutting allowed us to quickly and efficiently pro-duce the necessary components of how design with a much stronger material. The MDF we used proved to be much tougher than the balsa wood we previously used, combined with the effective production the only obstacle remaining was assembling the pieces togeth-er. Certain components of our project had delicate forms that were too difficult to manually cut, due to its irregular form and the tough material, leaving laser cutting as the only available option.

Using CAD software like rhino we were able to design a project that could be physically built, we were able to showcase each individual piece, where they would go and it would all work. As time progressed so did our design, new ideas came about and we added and subtracted multiple elements with relative ease, changing certain pieces completely, starting from scratch and changing the fundamental ideas behind the design. The ability to accomplish all this without the use of physical resources has saved a lot of time and money for the project.

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Digital Fabrications: architectural + material techniques/Lisa Iwamoto. New York: Princeton Architectural Press c2009

Describe one aspect of the recent shift in the use of digital technology from design to fabrication?

Reading Response Wk 7

As technology progresses, the need for traditional design practices begin to dim as once manually completed processes can now be done with modern machinery. Customary drawings have been digitized, physical mod-els being digitally replicated and manual fabrication is no longer needed. Digital practices combine the notion of designing and making into one process, compelling a seamless transition between designing and building. The new found ability to efficiently produce quality designs that are also easy to edit has almost rendered conven-tional drawings obsolete. Physical models on the other hand remain ever so important, showcasing certain dy-namic aspects like lighting and shadows produced from different angles.

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Reading applied to design

Referencing from the lectures and readings, what is the implication of digital fabrication on your design ?

Digital fabrication has granted us the ability to effi-ciently and effectively create the numerous compo-nents needed for our sleeping pod. By digitally mod-elling the complex geometry of our design we were able to grasp a sense of the approximate size, form and function. This allowed us to freely adapt our de-sign during the development and fabrication stages, helping us by highlighting the structural issues that plagued the project. Using tessellation to set out our individual compo-nents we were able to save time, money and mate-rial whilst using the laser cutter to carve out the entire project. The only remain-ing obstacle in the project was assembling the sleeping pod and attaching the fabric to its foundations.

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Prototype development Crucial components

One of the major components that we had to test was the joints. To see whether or not they could support the weight of the structure. As triangulation forms the most crucial part of the design as it is the only thing keeping the structure up. Getting the right angle, size and height of these triangles plus the friction between the joints would determine whether or not the structure would stand. Previously we connected the joints and segments together with a flimsy steel wire that couldnt hold the structure together. We also had to change the balsa wood into something stronger.

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Prototype optimisation Effects

The overall effect of the sleeping pod is too provide a stable platform that is comfortable and safe for the user. As every user is different in size we must cater to that require-ment, in response we adjustable segments to the sides of the design. These teeth like structures form the base of the main structural triangles, by adjusting the height of these triangles we could change the height of the sleeping pod.

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The skeletal structure of the sleeping pod is quite hollow, it contains a no-ticeable gap between each layer. So in order to create a sense of safety and security we added a layer of fabric stuffed with wool, essentially a pil-low that would wrap around the users head blocking light and sound. The soft nature of the pillows combined with the irregular form and mediocre soundproofing, creates the perfect illusion of safety for the user, allowing them to have a pleasant experience.

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Prototype optimisation

Our design is made up of 182

individual pieces, the pieces are

grouped up in different categories

for different sizes. We did not need

to unroll our design because of

the simplicity of each component,

leaving the only complicatio

assembly.

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Prototype optimisation

Due to the repetitve nature of

our design we were able to save

material, time and money by

grouping pieces together in tight

formations.

The left one is the intial test proto-

type’s Fablab laser cutting file. It is not an effiency use of laser cut, which wasted a lot of space and

money.

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For the later laser cuts, werealized that by placing the edges together we could save space

and time. The elements in our design are simplly repeatings so that it is easy for us to use the

space effiencly.

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Sleeping Pod final design

Plan

Elevation 1

Elevation 2

Isometric

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The shape of this proto-

type is the most stable

one out of all te pro-

totypes that we have

tested. The connection

between the two pieces

at base with the teeth

can provide a more

stable foundation. More-

over, the connection of

triangles can limit the

movement of hexagon.

The supporting pieces

can stick into the teeth

and become stable. This

could provide a ragne

of choice to adjust the

height of the sleeping

pod.

Different pieces and

different layers are con-

nected by plastic and

alluminium tubes. Each

layer has shims and

tapes between each

other to keep the gap.

This piece is glued on the

teeth pieces in order to

keep them stable and

prevent from movement.

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Fabrication Sequence

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Assembly Drawing

Outer Frame

Inner Frame

Adjustable Supporting Teeth

Shims

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Stable sheet

Tubes

Tapes

Layer 1

Layer 2

Layer 3

Layer 4-13

Stable sheet

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SLEEPING POD

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Failed Prototypes

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