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DIGITAL DESIGN + FABRICATION SM1, 2016 M3 JOURNAL - Fabrication

Zoe Bratcher, Amanda Sam & Charlotte Young787252, 759146 & 698416

Michelle James #9

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Introduction (MODULE 2 Review)

After completing module 2 we decided that the best way for our group to move forward was to focus on the structure acting like a pillow, but that also included an aspect of privacy and personal space. To do this, we decided to build the pod outwards and around the face rather than upwards and behind the head. Similarly, to further streamline our design, we’ve decided to remove the screen element of the design, as it created a claustrophobic effect for the user, and also created an unnecessary design element. We also decided that the papier mâché method of joining the cones together was both visually messy, and not the strongest possible way of joining the cones together. We plan to further develop joining the cones to come up with a method that is stronger and has more integrity. Finally, we also want to further develop the folding of the cones to include an interior fold to cover up the interior cotton.

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Design development - Interior Fold

When looking for a method for holding in the stuffing, we discovered that by adding an additional two folds to the page before we folded the cone we could conceal the cotton with in the paper page structure. This looks neat and holds the cotton stuffing in securely, clearly resolving this need.

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Design development - Cone Size

8 Segment Cone 10 Segment Cone 12 Segment Cone

To optimise the design of the cones, we had to explore exactly how many cone segments were necessary to create the optimum cone size. We folded cones of different segments to figure out which one would allow for the best effects. We discovered that 8 segments were too few, and meant that the cone wasn’t full enough, making it too squishy and not supportive. On the other hand, 12 segments meant that the cone was too stuffed, with each segment having an inconsistent level of stuffing. This meant that each segment ended up being different sizes. Thus, we settled on 10 segment cones, as they were able to be stuffed consistently, meaning all the segments ended up being filled to the same size, allowing for maximum comfort and structural integrity.

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Design development - Joining Cones

Papier Mâché joining Rope joining

One of our join options we explored was Papier Mâché. This was done in creating a cut out segment in one cone and putting another cone into it. Then, we used Papier Mâché made from farrago paper to secure the cones. This proved to not be strong enough, despite the amount of layers used, and also looked messy. Thus, we decided not to move on with this joining idea.

In this joining method, the rope functions like a ring around each cone, which can then be connected with another rope. Because the cones are attached side by side, the connection will be hidden, showing the continuity of the rope around each cone. The rope is looped through each panel of the cone so that it doesn’t rip the paper. Looping the rope through the paper is better than connecting it directly to the paper, as it provides uniform tension around the cone, rather than putting too much pressure on one point of the paper. However, this method causes many points of weakness in the design that is likely to cause paper rips.

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Design development - Joining Cones

When the two joining methods we had been trying previously seemed to not be working we went back to do some research. We went back and looked at paper in its strongest form, and found that rolling a piece of paper up tightly made it very strong. This is because of the lack of surface area, as well as the many layers rolled over each other giving the paper structure. When we attempted to create these rods ourselves, we found once complete they were actually really difficult to bend and break.

We thought that by inserting these rods into our cone segments that this would make our design even stronger. To allow for this, we slightly changed our cone fold leaving a centimetre off the spin of the magazine to allow for the rod to slot in nicely without causing any rips. This has proven to be really effective.

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Design development + fabrication of Prototype V.2

For Module 3 we made a new prototype using the cones and joining them with the rods. The joints were very important for stability of the model. We utilised multiple rods to increase the strength and structural integrity of the model, the rods were held in place through the tightly stuffed cotton stuffing, this made the sleeping pillow very supportive and comfortable to use.

In addition, the design of the sleeping pod doesn’t require any extra pins of joins to attach to a chair. The model will be sitting on your shoulder between your head and the chair. The compressive force on the cones behind will ensure it’s sturdy. The sleeping pod is designed for most chairs on campus. More specifically, a chair that is at least up to our neck height. We also noticed a lot of chairs are reclined to at least 20 degrees which will make sure that our head stays back all the time.

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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

Three dimensional scanning – physical to digital 1.From a physical model a digital representation is created using 3d scanning techniques. This is called reverse engineering 2.A pattern of points is created and interpreted by the conversion software to produce an approximation of the models geometry3.Properties are analysed through laser scanning. Where a laser beam is emitted and the reflected beam is captured.4.This can create accurate 3d models of existing objects

Digital fabrication – from digital to physical 2D fabricationA two axis motion of the sheet material relative to the curving head are implemented as a moving cutting heads, a moving bed or a combination. Next,laser cutters use a high intensity focused beam of infrared light in combination with a jet of highly pressurized gas to melt or burn the material being cut. Subtractive fabricationRemoval of a specified volume of material from solids using electro, chemically or mechanically reductive processed.The three axis milling machines could remove material volumetrically. The cutting head can perform the under cuts and substantially increase the forms produced.

Additive fabrication Formed by adding material layer by layer. Next, the digital solid model is sliced into 2D layers. Then, each layer is transferred to the processing head of the machine and the physical product is generated incrementally. Sterolithography is based on liquid polymers that solidify when exposed to laser light. For selective laser sintering the laser beam melts layer by layer of metal powder to create solid objects.

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Reading applied to design

How does the fabrication process and strategy effect your sleeping pod project?

We found throughout out our design process that digital fabrication was only necessary using Rhino. We used this software to design and decide where to place our cones in relation to the human. On the other hand, these readings have not provided relevant thought for our design as we haven’t used any technological fabrication methods such as 3D printing or laser cutting. Using paper, we found that making prototypes by hand was the most efficient way to create our sleeping pod.

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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

Fabrication is one of the final stages in design. These days, digital technologies such as CAD/CAM help us draw 2D designs which can then be imported to a 3D modelling software for the fabrication. For example, software’s like Rhino can develop from a point to a line to a surface and then a solid. It can also help to experiment and explore the 3D model within the software.

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Reading applied to design

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

In our design, we didn;t use digital fabrication in the production of the pod. However, we did use Rhino to help us in it’s creation. Rhino allowed us to easily trial the positions of the each cone, and which size would be appropriate.

digital fabrication of our sleeping pod was completed using Rhino. We tried different posi-tions of cones and sizes to make one feel comfortable. We mainly used modelling, making several prototypes to figure out how to join the cones together

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Prototype development - Joints

At the end of Module 2, we used a simple, yet effective paper mashe joint, which was then developed to a rope joint (described earlier) and finally using paper rods. Rope joint requires was an effective method, felixible and durable but aesthetically it contrasts with the Farrago paper used for the cones. So we tried to develop a joint using the cones or using the paper of the cones to integrate into our existing model. Paper rods may not be as durable or strong like rope but rwhen rolled into tight rods and multiplied, it was a stronger joint reducing the flexibility.

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After Module 2, we altered the fold of the cone to make it wider. When the cone is sitting on our shoulder, it requires more height, so that we don't apply any pressure to the neck. We also realised, that the internal fold of the cone can be used to enclose the stuffing and make in solid.

Prototype development - Cones

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Prototype optimisation for effects

Initially, we changed the folding method to be able to encompass the paper sticks for joining. To do this we just folded the cone leaving approximately a 1cm gap between the folds and the book spine. However, we noticed that this left the point of the cone flat. We decided that it was necessary to alter this back to a point for 2 reasons. Firstly, having the point creates a much stronger visual element then a flat element. Secondly, the points face outwards from the user, creating a visual element of the danger for people contemplating invading the user’s space, subconsciously manipulating people to stay further away from the pod and give it a wider berth.

Furthermore, using the Farrago magazine helps us blend in to the university environment. As it isn’t one solid colour, it doesn’t stand out as much. For the person using the sleeping pod, they wouldn’t feel self-conscious, especially knowing they fit into the surrounding.

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Prototype optimisation for fabrication

To optimise the fabrication of the pod, we made two small changes to our design and methods. The first change was how we went about rolling the paper sticks. We changed it from rolling from hand to using a skewer to roll the paper around, which was then removed. This made the process of rolling the sticks more efficient and created a much more uniform thickness then when we rolled them by hand.

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The other change we made to the fabrication happened as a result of us noticing that our prototype models quickly developed small rips and tears after use that had the potential to quickly evolve into big tears. Therefore we decided it was necessary to provide additional durability around the edges of the page. To do this we experimented with taping up the sides of the paper using large clear packing tape. This worked well and achieved the desired effect, however, it was too obvious on the edge of the paper. So we changed the tape to clear scotch tape that visually blended into the edges of the paper, making it look almost invisible and the plastic in the tape takes the tensile forces on the paper.

Packing TapeScotch Tape

Prototype optimisation for fabrication

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Prototype optimisation - Material Usage

The features of paper as a material are reflected in the overall model design. Paper is pointy with sharp corners, smooth surfaces and is very flexible, these are also features that are visible in our pod design.

Each Farrago is maximised to use all the pages, (3 10-segment cones can be made per magazine, as well as a few rods. so all pages are used). Ultimately, by being careful with our materials we can make our pod using only two Farrago’s and 3 smaller union house pamphlets for the smaller cones.

10 Page bundle (1 Cone) 10 Page bundle (1 Cone) 10 Page bundle (1 Cone) 2 Left over pages for stick construction

Front/Back covers (Waste)

Farrago Usage Breakdown

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Sleeping Pod final design

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Our prototype had 2 main elements: the rod and the cone (of 2 different sizes). The rhino design shows the arrangement of these elements, their positions and angles. The model build in Rhino was also a guide to build the physical prototype. The arragement of this cones isn’t random, everycone has a purpose. The spacing between the person wearing it and the model is defining one’s peronal space and it can be adjusted accordingly. The height of the model on either side is built up for privacy.

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Fabrication Sequence

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Assembly Drawing

The final sleeping pod design is created from 6 paper cones (3 large cones from A4 booklets, and 3 small from A5 books), as well as 5 bundles of sticks to create the joining of the cones. To create the pod from these elements simply insert the small cones into the corresponding sticks and then insert them into the larger cones so they connect as shown

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Sleeping Pod

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Appendix

To create the Rhino model, the first step was to create

and set up a reference images in which to base the

first cone segment off.

Based off the drawings, polylines where drawn to match the

front and back reference images. Then the points where

turned on the polylines, and they were pulled backwards

to correspond with the profile image.

Next, the back and front lines that had been created

where selected and then the loft command was used

to create a polysurface of the cone segment.

Next, to represent the inner fold of the cone, a single square poly

surface was created and positioned in the relevant position.

Then the surface was selected and split by the intersecting cone

segment, and the leftover polysurface was discarded.

Next, the cone was thickened using the offsetsrf

command to create a thin level of depth to all

the components.

Next, a single cylindrical rod was created and given a

thickness to represent the rolled paper.

Then the rod was multiplied by 10 and positioned inside the holes at the lower

end of the cone.

Then the initial cone was duplicated and positioned

on the other end of the cone to create the back

support.

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From here, a number of other cones where created and

positioned around so they would support the head., with

the rods where positioned so they intersected into the

back support rods.

Finally, holes where created in the cones where the rods pass through

by splitting the surface of the cone and deleting the central hole.