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DIGITAL DESIGN + FABRICATION SM1, 2016 M3 JOURNAL - YOUR PROJECT TITLE

Amos Ng Tze Way + Siyu Shen 737960 + 727876

James Park + Group 6

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Introduction

The design we did for M2 was a combination of two folding,namely Yoshimura folding + Square Belows technique . The Square Belows tech-nique was used to connect the front and back Yoshimura folding as it is strong itself and could give volumetric expansion aesthetically.the two ends of yoshimura fold was pinpointed to a single point to act like a pivot. The foldings are able to unfold and open into an almost flat surface.The design could also be compressed into a flat object and carried around easily like a totes bag (portability).t

1.0 . Perspective view of the model

1.1. Model on human body 1.2 portability of design

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Design development

Some of the main feedback from M2 design review that were taken into consideration were:- - the model design doesnt appear to be one piece design // doesn’t seem to have a seamless transition between the two folding . (using only single technique multiple times ? single piece? )t- The sharp edges of the folding and the material used may be not as comfortable. ( fabric?) - The shape of the folding ratio used may be too close tto the body skin . (Wider and bigger shape)- Consideration of how to attach the model to the body. ( with suspender? with shirt ?)- how to unfold it into a volumetric design model. ( skin and bone mechanism ? strings? )

1.3 & 1.4. Trying out different orientation and positioning of the folding technique . Only Yoshimura’s folding were used for this prototype with only 2 of it being used . We attempt to resolve the issue of model not appearing to be one piece design , increasing volumetric aspect , and how it would be attached to body.

By hooking one of the Yoshimura onto the other vertically , we try to make it seem like it appears from within the other yoshimu-ra folding .When two yoshimura combines, the ability to unfold may make the whole design to look even more volumetric.

The orientation of the main yoshimura folding is changed to fac-ing the side instead so that the secondary ones could hang off it whilst clinging onto the human’s body .

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Design development + fabrication of Prototype V.2

After further discussion with tutor , we have decided to re-move the extra hanging piece of yoshimura folding on the main model as it doesn’t really represent a smooth transition or a seamless one piece design that we wanted to achieve . Instead we used the single piece and placed it to the back likened to a hoodie .we used the 2,4,4,2 ratio of the length of the edge folding for the yoshimura folding. TT

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PERSPECTIVE view PLAN view

FRONT & SIDE ELEVATION view

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There are four digital fabrication process:1)Two dimensional fabrication2)Subtractive fabrication3)Additive fabrication4)Formative fabtication

In our project, we used 2D fabrication.we used card cutter to score the folding lines. The card cutter uses a small knife contolled by computer ,to cut and core the sheet mate-rials. It cuts on a 2D plane with the cutting knife moving in two directions on the X&Y axis.The Card cutter has two potential outcomes: 1.Cutting vector lines to create shapes with planar and curved edges. 2.Score vector lines into material surfaces. The different out-comes in cut depth are chieved through the application of different ‘force’ and ‘speed’ settings assigned to ‘line colours’.

The maximum thickness the Card cutter is able to process is 1mm.The thickness of our mat-erail - Yupo synthetic paper is 250gsm.So It is able to use it.

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

Laster Cutting Technology

(Source:Kolarevic,2003)

A water-jet nozzle

(Source:Kolarevic,2003)

Rhino file sent for card cutting.

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-The use of digital technology has been able to make the design & representation of a project into the building & making of it ,a more seamless and closely related process. What essentially takes place here is that digital data are used to manipulate the fabri-cation process. These digital data are made by us designers in computer aided design programs that commands the computer-driven tools to do the building or cutting of parts. -The use of three-dimensional-computer modeling software has made designers rethink their designs and explore the boundaries of architectural form and constructions that were harder to translate into 2-dimensional representations of past CAD. -A new dimension of modeling has brought in inventiveness of people in the architec-tural scene as they attempt to restructure the process of construction.

-Architects and designers were able to shift seamlessly between the physical product and the digital model medium ,discovering the limitations and new possibilities of the model design in between the digital and physical model design. As Gehry’s office did , design move back and forth between physical and digital surface models – physical models for aesthetics , digital models for “system fit” . Through digital modeling transla-tion to physical product of cut-stone surface by computer milling machines ,they were able to discover that unique and complex surface geometries requires about the same fabrication cost as mass-produce identical ones .

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

Unfolded plan of folded sur-faces

(Source:Iwamoto,2009)

folded plan of folded surfaces

(Source:Iwamoto,2009)

a part of rhino model foldings .

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Reading applied to design

-As Iwamoto mentioned in Digital Fabrications , the design intent and the machine ca-pability has to be compatible which helps decide the machine and method used for the product. In our design, we used a big piece of A1 untearable paper (YUPO) which requires clean and accurate foldings for crisp detailed looking design which was not as neat when we tried folding and drawing lines by hand. So we explored machines avail-able in fab lab and came to conclusion that card cutter is most suited to our design as it could cut partially into the paper allowing us to do the folding whilst having accurate detailed folding. Ultimately it is the method of making that forms the design aesthetic as Iwamoto mentioned .

-The digital fabrication of our design (involving folding) , which uses Rhinoceros to model the 3-dimensional surface of the model design around our body mesh has allowed us to firstly simulate how the model design sits and looks on our body in different positions be-fore making a physical prototype of the model. We were able to imagine how the design model folding would look like when the folding is opened and stretched in the digital modeling program informing us to adjust the shape of the folding technique so that the design better suits its purpose.

In addition, the pannelling tool in Rhinoceros,let us to do the folding easily and accurately.

-The 3-d surface of the design model undergoes the fabrication process of unfolding into a 2-dimensional template for the cut-cutter machine to do the slight cuts through the rhinoceros software embedded commands.

Week 7:Referencing from the lectures and readings, what is the implication of digital fabrication on your design ?

Using card cutter to score the folding lines saved us a lot of time.and helped us to achieve precision. When we did the previous prototype, we’ve always hand-draw the folding lines first and they are not that accurate when folded by hands due to human error.

Week 6:How does the fabrication process and strategy effect your second skin project?

Using rhino to fold from a flat surface to a fold-able surface.

Rhino’s panelling tool program setting up the points and surface for the fold-ing shape to panel onto .

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Prototype Development|Fabrication|Material Usage

Firstly, we measure the span of th shoulder and th e height of the head .And We used the105gsm printing paper in MSDprinting room to fold according to folding techniques.and personal measurement. Because,it is easier to be folded.

And we also try to use many different types of pape to decide the most suitable and effective materials for our design. For example, the 140 gsm Black Cover Stock paper,200 gsm Tracen paper,

However,the Black paper is to weak to supportt a shape. And the Tracen Paper is too sharped. It would hurt the skin of the neck and very easy to be broken.

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In M2 and previous M3 prototype, we used the normal paper like 180gsm.However,we wanted to make our model more durable.We researched and found untearable paper. Finally, we decide to use the YUPO synthetic paper. It is the 100% recyclable,waterproof, tear-free Synthetic Paper which is what we wanted to achieve with the material so that it is longer lasting in various environment condition .

We put the paper to strenous test by crunching it and trying to tear it. The result was a paper that was very rugged looking but not torn at all unless put to a knife’s edge which happens to all fabrics as well anyways.And the paper also could be folded again quickly according to the lines we folded before.

The crunched looking paper helps communicate its property of being un-tearable and durable against wear-and-tear of daily usage.

Pecedent Paper

Prototype optimisation|Fabrication|Material Usage

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As the rope used maybe slightly rough , the constant pulling and frictioning against the unprotected hole may be dete-riorating to the hole’s in the long run as it might slowly widen the hole . To counter that , we’ve used hole reinforcer made of alumin-ium material that could prolong the longetivity of the holes .

Smoothening drawstring ropes movement fixed & tied ends

To enable the drawstring and stop toggle to be able to pull open the model , the drawstring at the bottom ends of the model are fixed and tied a knot that is too big to pass through the hole . This part makes sure the drawstring rope stays within the model and does not come out of the model .

Prototype optimisation

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One problem we had in M2 module and given feedback was to having a structure or system to pull open the foldings so that the model could unfold fully and could retract and fold back into its initial flat-like position. To solve this problem , we used drawstring ropes put through a hole punched at every repetition of the folding and used a black spring stop toggle so that it could stop the model from unfolding once in its flat-like position. the toggle also helps to remove the strings away from the foldings once it transitions into the flat-like position .

Prototype optimisation|Unfolding &keeping back in

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Stitched on T-shirt Velcro

The feedback from M2 is that we should think about how the piece attaches to the body. Our first idea is to Stitch our model on the T-shirt. Stitching can withstand the force of pulling.But it is not that convenient to take off the model.

Veclcro is made up of two strips of fabric,one covered in thousands of tiny hooks and the other with thousands of tiny loops,the mater-ails gripped together firmly while still allowing easy release.We tried to stitch the Velcro on our model and t-shirt. Thus, users can take off easily. In addition,we tested many times and then got that the velcro also can withstand the force of pulling.

Prototype optimisation|Attaching to the body

The result of the of two method was a com-bination of both to allow maximum convie-nience while using it and when not using it .This makes it possible for the user whether to attach it onto the velcro on the shirt as if a hoodie or remove it and carry around easily like a totes bag .

Result

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2nd Skin final design

Perspective View|Unfolded

Side View|Unfolded

Front View|Unfolded

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For the final skin design , we’ve decied to move on from the prototype v2.’s 2,4,4,2 edge yoshimura folding to 3,6,3 edge folding as the previous one is too restrictive around the neck and may end up being uncomfortable to the user . 3,6,3 allows for better head movement and no sharp edges pointing closely to the neck . The placement of the base of the model is also adjusted to the back in order to accomodate the said reason .

Perspective View|Folded

unFolded

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Fabrication Sequence

1.Using card cutter to score the folding lines. 3. Crunching the paper with bare hands for rugged look.

5.Making the hole with hole puncher. 6. Setting the rings around the holes.

2. folding according to the lines semi-cutted by the cut cutter so that it is easier to fold back after crunching .

4.Refolding the crunch paper according the lines cut-cutted and folded before.

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7. Threading the drawstring rope through the hole.

8. Drawstring spring stop toggles are put in.

Fabrication Sequence

9.Stop taggle

10. stitching one side of velcro on the shirt. 11. stiching the another side of velcro on the model.

12.Taking on the model

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Assembly Drawing

A general view of the assembly drawing where the model is exploded into its own singular element , that is,the folded Yupo paper , the drawstring rope , and the drawstring spring toggle stopper.

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Assemblage Steps

1. Firstly , thread the drawstring rope through the first hole and the second hole of the first folding by twisting the loose end of the rope into a bunch.

2. Then , pull the whole rope through all the holes along the foldings until the very end leaving some extra dangling ropes at both ends .

3. At the loose dangling ropes at one end , press down on the spring toggle stopper and thread it into the rope and then release.

4. At the other loose dangling ropes’ end , tie a knot so that the knot of rope is too thick to pass through the hole .

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2nd SkinCURLED UP POSITION -OUTSIDE SUN

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2nd SkinRESTING ON THE TABLE - INSIDE LIGHT

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References

Greenskpe,(2011)http://greenspyke.com/2011/09/09/laptop-bags-made-from-unused-cement-bags/Iwamoto,L(2009) Digital Fabtications.New York,USA:Princeton Architectural Press.Kolarevic,B.(2003).Design+Manufacturing.London,UK:Spon Press