1

DIGITAL DESIGN + FABRICATION SM1, 2016 CANE SLEEPING POD

Kenny Ken-Li Chong716086

Tim, Group 6

2

Insert a full bleed image of your projectThis can spread over the double spread page

3

4

5

1.0 Ideation 1.1 Object: 1.2 Object + System Analysis:

2.0 Design 2.1 Digitization + Design proposal v.1 2.2 Precedent research2.3 Design proposal v.22.4 Prototype Fabrication2.5 Prototype v.12.6 Prototype v.2 + Fabrication

3.0 Fabrication 3.1 Design Development3.2 Final Digital Model 3.3 Fabrication of prototype v.33.4 Final Prototype3.5 Completed Sleeping Pod

4.0 Reflection

5.0 Appendix

6

7

1.0 IDEATION

The takraw ball was measured using a strip of paper, which was wrapped around the ball to determine its circumference. The thickness and width of the strips were measured using the same techniques. In order to fully study the weaving patterns of the takraw ball, images were taken from multiple angles and also an image with the camera lens pressed against one of the openings of the ball. This gave a general idea of how the weaves worked and was then able to sketch out a cross section of the ball. After researching through a few internet videos on the topic of creating one of these balls, I decided to make one in order to understand how these pieces are working together.

8

Perspective Sketch Cross Section SketchScale 1:1 Scale 1:1

1.0 OBJECT

9

Perspective Scale 1:1 Scale 1:1Section

RECONFIGURED MODEL

After making the takraw ball itself, I felt more confident in the process of weaving, and decided to focus on how these weaves work in a curved plane. The outcome man-aged to achieve both structure and flexibility.

10

(Chong 2016)

1.2 SYSTEM ANALYSIS

11

2.0 DESIGN

After teaming up with my partner, Rohit, who focused his designs around the idea of compact and functional, we started brain-storming ideas to attempt implement our two reconfigured mod-els together. Rohit’s reconfigured model explored the structural capabilities of the weave, while my own reflected the skin-like properties achievable with the standard weave.

(Hendricks 2016)

Group Member: Rohit Hendrick

12

2.1 DESIGN PROPOSAL V. 1

(Chong 2016)

13

DIGITIZATION

Not long into the digital model did we realize that the proposed sketches weren’t going to work due to irs size and weight. We realized that creating a helmet-like structure could potentially cause discomfort, as the restricted space within the helmet could feel constricting to the user. The idea was scraped early on and we moved on to a lighter and more open sleeping pod.

(Hendricks 2016)

The Burnham Pavilion consists of two main components: the skin and framework. Hadid achieves the fluidity in her design through the gradual rise/drop of the bent-aluminum struc-ture. The frame is then wrapped with a layer of fabric, both inside and outside. The stretched fabric gives the pavilion a sense of flexibilty and dynamism. This accomplishes to form a light-weight structure.

Burnham Pavilion by Zaha Hadid

2.2 PRECEDENT RESEARCH

Curvilinear

IntricateSkin

Frame

Fluid

14

Fluid

PRECEDENT APPLIED TO DESIGN

Having experimented with both cane core (stiff and rigid) and cane seat peel (soft and flexible), it was clear to see the relationship between the two and how they can both act together to form a flexible and yet structural form. We have taken ideas from Hadid’s Burn-ham Pavilion in terms of the fluidity of her design. We feel that fluidity is an important con-cept towards comfort levels.

15

2.3 DESIGN PROPOSAL V. 2

16

(Chong 2016)

After multiple back and forths of design ideas, we both agreed that we would work with a flatter structure which wrapped around the body in an airy manner..

17

(Hendricks 2016)

18

2.4 PROTOTYPE FABRICATION

Experimentation with cane seat peel with the standard weave

Digital model from which the prototype was based on

The original digital model focused on simply employing the weaving patterns of the takraw ball into something structurally functional around the human body. Having had no experience with material at this point, we could only assume how strong and structurally stable a weave like this would be.

Once we were able to experiment with the cane itself, we realized that if we were to continue with our initial proposal, we’d have to use a much tighter weave.

(Chong 2016)

(Hendricks 2016)

19

2.5 PROTOTYPE V. 1

The outcome of the prototype proved much more success-ful than we had originally imagined.The pillow-like structure provided the volumetric design and functionality we were hoping to incorporate from our digital models. A lot of the digital fabrication process relied heavily on our imagina-tions and being able to work and experiment with cane first hand, we identified the limitless possibilities this skin and bone structure provided. To test these possibilities we com-bined the the two prototypes together (cane core and cane seat peel).

Volumetric Cane Seat Peel Model (Skin)

Cane Core Model (Bone Structure) (Chong 2016)

(Chong 2016)

20

It wasn’t until we got our hands on the cane core that we were able to to achieve the springy and bone-like structure we attempted with just the seat peel. Work-ing with this material was much more difficult than the seat peel, as the rigidity of the core made it almost impossible to achieve a tight and neat weave.

(Chong 2016)

(Chong 2016)

We attempted to soak the cane in water for haalf an hour, but the cane was still too stiff to work a tight enough loop.

2.6 PROTOTYPE V. 2 FABRICATION

21

It was then decided that both materials should be used together to work as a single mate-rial system, providing both structure and flexibility. The neck piece was fitted with strips of cane core to increase the springiness of the design while still retaining the flexible qualities of the cane seat peel. A ‘backbone’ was added in addition to the neck pillow, provid-ing a uniform experience throughout the back and also allowing room for the addition of straps to go around the user.

Neck pillow piece woven into the back bone structure of the cane core Additional bracing woven throughout the back bone

(Chong 2016)

(Chong 2016)

(Chong 2016)

22

PROTOTYPE V. 2 TESTING

(Chong 2016)

(Chong 2016)

The pillow rested nicely along the shoulders and pro-vided the support that we hoped it would provide. The back bone however did not serve much purpose at this point, as it floated away from the back and didn’t provide much comfort with its planar form.

23

PROTOTYPE V. 2

(Chong 2016)Front and back elevations of prototype

24

25

3.0 FABRICATIONGroup Member: Rohit Hendricks

With the help of a Grasshopper script, we managed to cut down time considerably during the digital fabrication process and could therefore experiment with different geometries to find the most suitable and func-tional configuration around the human body. We decided to keep the neck pillow as it managed to accomplish the properties we seeked for in terms of comfort and structure.

Grasshopper script used to create weaving pattern

26

(Hendricks 2016)

(Hendricks 2016)

(Chong 2016)

3.1 DESIGN DEVELOPMENT

Side, back and isometric perspectives of digital model

27

(Hendricks 2016)

3.2 FINAL DIGITAL MODEL

2D renders of side, front, back and plan rhino drawings

28

(Hendricks 2016)

After the feedback received from M3, we removed the back bracing completely to replace it with a more volumetric pillow-like structure. The idea now was to continue the same volumetric design from the neck pillow down to the upper back area.

Because of the weaving methods used during our prototype making, we were able to slide each piece out fairly easily. The neck piece retained its original form and was therefore reused in the final design. The strips of cane were also pushed down-wards to attempt to hide the tape marks as much as possible when the back piece is attatched to it.

29

(Chong 2016)

(Chong 2016)

3.3 FABRICATION OF PROTOTYPE V. 3

We replaced the back with a more curved design in order to further explore the possibilities with a looping weave. The back piece was woven together with the neck piece, creat-ing a uniformity between the two pillows. We were still tasked with the issue of concealing the tape required to tie the ends of the cane pieces together, but decided to further experi-ment with the mingling of the fundamental properties of the skin and bone structure.

The majority of the tape at this point was concealed from the front, which we priori-tized more than the appearance from the back. The same spine-like structure from the prototype was repeated in the new design to provide additional support.

30

(Chong 2016)

(Chong 2016)

31

The same weaving pattern was followed throughout the back. The strips consisted of three cane peels, with measurements taken from the digital model to determine the curved form of the back piece.

Excess of the strips were trimmed off, smoothing out the appear-ance as well as clean it up. At this point, the back piece did not have the structural properties we had hoped for during the digital fabrication process. We had originally planned to use a single back bone structure and follow the same looping/spring-ing action we had in our neck piece.

(Chong 2016)

(Chong 2016)

32

It was then decided that we had to add an extra layer of support on the front of the back piece. Because it was too difficult to work with both pieces attatched at this point, we had to seperate the pieces once again in order to fit in the front structural element. We used to the same measurements again in order to maintain its sym-metrical form.

The cane core was now starting to bend and curve due to the tension of the seat peel. This gave us a more structural curved piece that we had not anticipated at all until actually working with the material.

(Chong 2016)

(Chong 2016)

33

Once we finished weaving the pieces together, we tied them together on the bottom. This created a tapering effect that conformed to the proportions of the back, while at rest.

We now had the main elements in place, where we were able to experiment with different methods of cleaning up the model.

(Chong 2016)

(Chong 2016)

34

An extra layer of cane core (soaked in water) was weaved through the bottom to add extra support and to tighten the weave so that the pieces re-mained in tension. Two pieces of cane core was weaved in and out of the sleeping pod to work as straps around the human body. Because of the rigid-ity of the cane core, the dimensions of the straps were made slightly looser in order to accomodate for different body shapes.

3.4 FINAL PROTOTYPE

(Chong 2016)

35

3.5 COMPLETED SLEEPING POD

36

4.0 REFLECTION

With the takraw ball for reference, my main goal throughout the semester was to explore the structural possibilities of the weave. The initial designs were radically different from the final outcome and I definitely feel that Rohit and I have explored the many possibilities the weave can offer. When we first got our hands on cane, we immediately started experimenting with different forms, pushing and pulling cane in and out between one an-other. Being able to physically handle the material made a huge difference in the designing phase of this project. We started the project off with a general idea and a few conceptual sketches before we went off to develop it in different medias. We discussed the possibilities of each proposal the following week and picked up aspects we thought would fit in our final model. My partner, Rohit, felt more comfortable in the digital environment and therefore opted to explore the possibilities of the use different geometries. At this point, we had just collected our cane from the store and could start testing out these ideas. Not long after, it was very clear to see how we could incorporate the skin and bones function in our design (using cane core and cane seat peel). Our initial prototype managed to solve a lot of issues regarding volume, but was still lacking the compact and comfortable properties we desired. Moving on from our prototype and with feedback from M2, we decided to keep the neck piece and continue the volumetric properties down to the upper back area. The digital model was adjusted, which gave us a good idea on how the final outcome would look like. With the experience we had with cane, we were able to point out in the digital model where, certain structural elements should be placed and where we would con-nect them together. Because of the weaving methods employed during our prototype making, we were able to slide the neck piece out, while retaining its form. We were also able to slide each structural piece out individually and begin working without the hassle of starting from scratch. This provided us with the flexibility and confidence to employ tighter weaves and a slightly more complex bone system, without the fear of snapping existing structures. Working this way, however, led to very temporary solutions towards tying the cane ends off. This was an issue we failed to identify during our digital fabrication, where loops and weaves flowed seamlessly between one another. Although the final outcome did not look as clean as we had hoped, we felt it still managed to prove the functional and structural properties of the weave in relation to the skin and bone structure. The final design proved to be comfortable and provided the support and convenience we had aimed to achieve during the start of the semester. If we were to continue with this project, Looking back, the design process was definitely limited to what was capable of being built. A lot of our initial ideas had to be scrapped as they were either too extravagent or would not be able to support itself on the human body. Issues mostly revolved around tying off the ends of our strands of cane as we were not able to find a suitable replacement for the masking, as they were either too unaccecable due to financial reasons or too messy. If we were to start this project from scratch, digital design techniques such as laser cutting would have surely helped us with the actual formation of the design (Kolarevic, 2003). A jig could have been made to be used as a placeholder while we layered the cane on to one another, without the hassle of taping every end down. The laser cutting jig, however, was not involved in our final fabrication process as it didn’t really add anything ben-eficial to the design (not being able to solve our main issue of tying ends and also not providing any sturcture without the compromise of our single material system).

37

5.0 APPENDIX

Marcus Fairs, 2009, Burnham Pavilion by Zaha Hadid Architects, viewed 10 May 2016. <http://www.dezeen.com/2009/08/24/burnham-pavilion-by-zaha-hadid-architects-2/>

Branko Kolarevic, 2003, Architecture in the Digital Age - Design + Manufacturing, Spon Press, London

Page Drawings Computation Model Fabrication Model Assembly Photography Writing Graphic DesignCover x x2 x x3 x4 x5 x x6 x7 x8 x x x9 x x x10 x x x x x x11 x x x12 x x x13 x x x14 x x x15 x x x16 x x x17 x x18 x x x x x x19 x x x x x20 x x x x x21 x x x x x22 x x x x x23 x x x x x24 x25 x26 x x x x27 x x x28 x x x29 x x x x x30 x x x x x31 x x x x x32 x x x x x33 x x x x x34 x x x x x35 x x x x36 x x37 x x

Rohit Hendricks

Kenny Ken-Li Chong

CREDITS

38