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DIGITAL DESIGN + FABRICATION SM1, 2016 SLEEP SPACE

Emma Martin (699044)

Michelle James + Group 1

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Contents:

1.0 Ideation 1.1 Object 1.2 Object + System Analysis 1.3 Volume1.4 Sketch design proposal

2.0 Design2.1 Design development intro: 2.2 Digitization + Design proposal v.12.3 Digitization + Design proposal v.2:2.4 Precedent research2.5 Design Development v.1 + v.22.6 Prototype v.1+ Testing Effects

3.0 Fabrication 3.1 Fabrication intro3.2 Design development & Fabrication of prototype v2 3.3 Fabrication of prototype v33.4 Prototype optimisation for fabrication3.5 Optimisation followinf M3 submission3.6 Final Digital model 3.7 Assembly Drawing Part 13.8 Assembly Drawing Part 23.9 Fabrication sequence3.10 Completed 2nd Skin

4.0 Reflection.

5.0 Appendix: You can include the below as an appendix or as in text footnoting and image captions5.1 Credit5.2 Bibliography

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0.0 INTRODUCTIONThis subject has explored the idea of personal space through

the design of a sleeping pod. The assessments looked at using digital designs tools and digital fabrication processes to

generate and explore ideas and fabricate prototypes.

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1.0 IDEATIONThe focus of module one was ideation; this included developing an understanding of

measuring space, material systems and designing ideas.

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M1 1.1OBJECT

I chose for my object the umbrella, which was a skin and bone system. I selected it because I found interest in the repetitive form as well as the complex mechanical systems, which allow the umbrella to smoothly transition from closed to open.

300 Years of Industrial Design (Heath et al., 2000) provoked a discussion of how to measure objects. Unlike the more complex objects in the reading, the umbrella was relatively easy to measure as all elements were easily accessible. I physically measured it using a measuring tape for the larger spans and a small ruler for the more complex areas such as at the top of the umbrella to fit within small niches. I found this process relatively straight-forward, however it was time-consuming. I translated these findings into a series of accurate scaled drawings, taking inspiration from How to Lay out a Croissant (Miralles & Penos, 1988) - a reading which I didn’t fully understand however I found the consecutive diagrams of the croissant interesting. In hindsight I think a more effective way of diagraming the system would have been to draw a series of diagrams of the umbrella slowly opening, similar to that of the drawings of the folding croissant.

To make the rhino model, I placed my scaled drawings into rhino, as we learned how to do in the rhino workshop. I then made a series of curves, tracing my drawing, and extruding them to the necessary lengths. I started my model at the base and made my way up. I made the handle and stem by creating a number of cylinders of varying lengths and diameters. I then constructed one of the arms using the cylinder, pen, cap, extrude and rotation functions. I copied this arm another five times and rotated it around the stem center, positioning each arm at 60 degrees. Finally I added materials to the drawing.

As suggested in Inside Rhinoceros 4 (Cheng, 2008) reading ‘the purpose of constructing a computer model is to represent it in the computer in digital form in order to facilitate design analysis’. I found using the solid model function highly effective in conveying surface and edge data, and also volume data.

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M11.2OBJECT + SYSTEM ANALYSIS

The six branches of the umbrella, which extend from the top of the handle, are all identical. Each arm is positioned at a sixty degree intervals creating a complete 360

degree circle. These six arms bring into tension the waterproof material or skin.

The umbrella is made up of three basic components: plastic, steel and material to form a skin and bone system. The steel forms the structure, or bone, of the

umbrella. It is naturally rigid, however becomes moveable through the use of hinges. The plastic is used to control the steel and for comfort. The skin is formed by a

flexible waterproof material. As the umbrella is opened, the skin is tensioned and becomes almost rigid. When the umbrella is closed the material becomes flimsy and

unrestrained.

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In the making workshop we experimented with creating a skin and bone model with a number of laser cut elements and red fabric. This was highly enjoyable, and helped me gain an understanding of the skin and bone system as a whole and how the two elements interact.

Following this making workshop I created my own sketch model. This carried forward the frame structure, while creating juxtaposition in angles. It also maintained the movability factor.

M1 1.3VOLUME

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M11.4SKETCH DESIGN PROPOSAL

The first sleeping pod covers the upper body, with an operable frame, which is where people most greatly feel as though their personal space is being intruded on. Therefore, this pod

aims to create comfort through enclosure. they should feel comfortable enclosed in the pod.

The second pod is suspended from the ceiling and seeks to provide a sufficient bubble personal space through seclusion and by shielding the user from others.

The third design attempts to imitate the shape of people’s personal space bubbles, providing more room around the head and decreasing to the least amount of space towards their feet.

As discussed in the lectures and the Personal Space (Sommer, 1969) reading all three of my sleeping pod designs aimed to manifest the notion of personal space through both form and

materiality.

Upon reflection of this module I think that the top two designs more closely allign to the aims of the subject, effectively representing the notions of personal space.

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2.0 DESIGNEmma Martin + Evelyn Kang

Module two focused on design, covering the topics of designing ideas, designing effects and designing prototypes. We worked in groups to design and develop the

idea of a sleeping pod. creating both digital and physical models of various designs.

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M2 2.1DESIGN DEVELOPMENT INTRODUCTION

From Evelyn’s design we carried forward the idea of creating a structural member to support the head, creating a comfortable resting position. From my design we borrowed the idea of a self-confined space to incorporate an element of privacy to emphasize personal space. We also drew from my design the use of a series of geometric shapes to create repetition and fluency. Our new design had increased focus on comfortably and creating privacy.

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M22.2DIGITIZATION + DESIGN PROPOSAL V. 1 + V. 2

The design was to include a moveable frame, which could be folded flat against the table when it wasn’t in use. To accomplish this we had to adapt the shape of the bone

elements from a half hexagon to a half octagon to create a functioning joint.

Our next design decisions were based around creating a skin covering the collapsible frame which had the dual function of acting as a screen or protector of personal space

(whilst minimalizing light penetration) and holding the skin members in position.

After realizing the unhygienic nature of the pillow which was to support and provide comfort for the face, we decided to fix the design vertically to the wall, as opposed to

horizontally to a desk, and instead use a soft and stretchy material to support the back of the head, providing a more hygienic design suitable for the use of multiple people.

The intent of this first proposal was to create a minimalistic design that created interest through the repetition of geometric components, while creating a comfortable and

useable space.

What are the key differences between ‘abstraction’ and ‘reduction’? Can you relate these ideas to the tasks you undertook in Module 1?

The key difference between abstraction and reduction is that abstraction contains as little information as necessary to clearly model an object, while reduction is about finding the optimal way to transport information (Scheurer & Stehling, 20011). In module one it was necessary for me to abstract shapes to model the umbrella efficiently in rhino. Rhino

also uses NURBS to allow for the precise definition of complicated shapes, such as the membrane draped over the umbrella, through the use of control points.

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M2 2.3PROTOTYPE V.1 + TESTING EFFECTS

Our second design proposal began as a structure, which fully enclosed the body. Adjustments were made however due to the impracticality and expense of such a large sleeping pod and also the realization that the end half of the design didn’t serve a great purpose. Hence, the removal of this portion of the sleeping pod increased the practicality of the design without jeopardizing the comfortability of the user and their experience with the pod.

Other design decisions were made with strong reference to personal space and ergonomics. The basic geometry was adjusted to octagonal to effectively encompass the body, while the overall form of the design was altered to closely reflect the personal space bubble, by increasing the room around the head and chest.

Similar to the previous design, this design focused on the repetition of octagons to generate a dynamic form. The design effectively acknowledges and parallels the boundaries of our perceived personal space.

Our chosen precedent was the Brunham Pavilion by Zaha Hadid architects (Burnham Pavilion, 2009). The bone structure consists of a series of recurrent

curved aluminium members, which are repeated to create a fascinating form.

The design revolves around a single, almost two-dimensional, curved module, which is used repeatedly (though each piece varies slightly) to create a seamless three-dimensional geometry. Our design would benefit largely by focusing on the

elements that make this design so profound, including its fluidity which has the capacity to disguise its inherent complexity into a minimalistic design, as well as

it’s effective use of repetition to create fluidity.

M22.4PRECEDENT RESEARCH

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Our second design proposal began as a structure, which fully enclosed the body. Adjustments were made however due to the impracticality and expense of such a large sleeping pod and also the realization that the end half of the design didn’t serve a great purpose. Hence, the removal of this portion of the sleeping pod increased the practicality of the design without jeopardizing the comfortability of the user and their experience with the pod.

Other design decisions were made with strong reference to personal space and ergonomics. The basic geometry was adjusted to octagonal to effectively encompass the body, while the overall form of the design was altered to closely reflect the personal space bubble, by increasing the room around the head and chest.

Similar to the previous design, this design focused on the repetition of octagons to generate a dynamic form. The design effectively acknowledges and parallels the boundaries of our perceived personal space.

M2 2.3DIGITIZATION + DESIGN PROPOSAL V. 2

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M22.6DESIGN DEVELOPMENT V. 2

One of the key focuses of this prototype was to create a dynamic form through the use of repetition. I experimented with various patterns for the wires, deciding on a simple cross pattern as I found it emphasized

fluidity, repetition and minimalism, comparable to the precedent. Another key aspect, which had only vaguely been considered up until this point, was materiality. I realised that we would not be able to establish a design without

understanding how the materials perform. We decided on plywood for its strength its form to be used for the bone and wire, because of its tensile strength, malleability and aesthetic.

The Pottman et al (2007) reading raised the question ‘what is a developable surface?’‘Developable surfaces (S) are characterized by the property that they can be mapped isometrically into the plane.’

There are three basic types of developable surfaces:

• Cylinders:acylindersurfaceisproducedbyaseriesof parallellinesorrulings. • Cones:aconesurfaceconsistsof alllinesconnectingaprofilecurvewithavertexpoint. • Tangentsurfacesof spacecurves:atangentsurfaceof spacecurvesisformedbythe union of tangent lines to a curve.

While this reading did not have a strong link to the work I completed in the model, I can see that it relates to some rhino functions that I used, such as rotation.

The chapter on paneling tools (McNeel) was far more relevant and helpful in my understanding of rhino. I used grid functions in the third workshop and also in developing my design in Rhino. This was a very efficient method as it allowed me to quickly generate repeated elements along a desired curve, for example I was able to evenly

distribute 40 holes around each of the four octagonal framing members.

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M22.6PROTOTYPE V. 1 + TESTING EFFECTS

Through the prototype we could evaluate how our sleeping pod acted in relation to personal space. The profile of the design directly reflected our predetermined notion of personal space, with ample space around the face, conducive to peace. The skin and bone of the structure worked effectively together to provide privacy for the user.

I also tested the materiality of the design, using string as opposed to wire as it is a softer and more natural material, which aligns better with the concept of tranquility and rest. Materials for the hammock were chosen with respect for how they act in tension (in response to the weight of the user) and level of comfort, while keeping hygiene in mind.

A major discovery with this prototype was that the hinges did not function properly, opening the device to a maximum of 15cm. I believe that this was due to the fact that four hinges were not aligned along a single plane. This is something that I planned to explore in the next module.

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3.0 FABRICATIONEmma Martin

Module three focused on the development and refinement of the design through the evaluation of readings and further iteration of prototypes. Module three also included

the making and completion of the final sleeping pod.

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M3 3.1FABRICATION INTRODUCTION

Our design from module two was an openable sleeping pod that enclosed and provided support for the upper half of the body. It consisted of a number of octagonal timber panels, forming the primary bone structure of the sleeping pod, and tensioned stings forming the secondary bone structure that had a dual function of tying the timber panels together and creating privacy for the user through distortion. A sheet of fabric was attached to the inside of the design, forming the skin and providing a comfortable support for the user.

Of this design I liked how the plywood and string interacted with each other, as well as the geometric and minimalistic form of the design. I decided to bring these aspects forward as they complimented my design intent.

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M33.2DESIGN DEVELOPMENT + FABRICATION OF PROTOTYPE V. 2

Following module two I decided to decrease the size of the sleeping pod, minimalising costs and improving practicality. Throughout the later lectures

we were encouraged to challenge the traditional definition of a sleeping pod. I felt reducing the size allowed the design to evolve from this standard

notion of a sleeping pod, to a more conceptual and interesting version.

In response to feedback from M2 I decided to incorporate a weaved net to replace the previously fabric hammock. This improved the coherency of the design creating a link between the outer and inner membranes of the

design, without jeopardizing comfort.

For this series of prototypes I focused on the crucial junctions within the design and how the pieces would fit together. Using the actual materials

allowed me to evaluate how the materials acted and gave me the opportunity to make the necessary amendments before constructing the final prototype.

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M3 3.3FABRICATION OF PROTOTYPE V. 3

In response to previous feedback I began considering ways to incorporate a weaved hammock to replace the previously fabric hammock. I trialed various patterns and settled on the inherently simple, diamond-shaped pattern as it mirrored the exterior membrane, creating fluidity and a distinct coherency within the design. I also began weaving the exterior string membrane to minimize inconsistencies and form double curves, as discussed in the lectures.

This movement in my design was critical in ascertaining my design intent of a comfortable, fluid and simple sleeping pod.

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M33.4PROTOTYPE OPTIMISATION FOR FABRICATION

In module two the frame was constructed of seven octagonal modules each of varying sizes which reflected the bounds of personal space. This was a very ineffective use of materials as I was unable to nest the pieces together or share lines (as discussed in the introduction to laser cutting), resulting in extensive

unusable space. Hence I created three standard sizes, which could be nested on one sheet of material, without jeopardising the intent for their profiles to parallel our preconceived idea of personal space.

Of the available materials available for laser cutting, I chose 3mm MDF for its structural properties and appearance. Through testing the various materials I discovered that MDF was less prone to deflection and twisting, as well as splitting. The size of each of the members was constrained by a 560x560mm size limit,

influencing the final size of the design. I discovered that a spacing of 60mm was required between each octagonal member, thus impacting on the dimensions of the restraining members.

Evaluating my idea of a peaceful space conducive of rest, I always revert back to nature. Nature has the ability to induce a state of mind, so fundamental in obtaining peace. I selected MDF in an attempt to

capture nature through its soft, natural appearance.

In contrast to my first prototype for the hammock, I elected to use a stretchable cord to create the net. As pressure is asserted on the woven cord, the load is distributed causing the net to shape ergonomically

around the curves of the back of the head and neck, increasing comfort.

My design utilizes the digital modeling technology of rhino as well the digital fabrication process of laser cutting. The use of the program rhino has had a huge influence on my method of design. It has allowed me to model my design in 3D in a time-effective manner. I could simply draw 2D geometries and extrude these

to create 3D surfaces. Other more complex functions allowed me to create geometries that would have been very time consuming to physically prototype.

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M3 3.5OPTIMISATION FOLLOWING M3 SUBMISSION

When the weight of the users head exerted pressure on the final prototype, which I presented for M3, the hammock did not support the head to the desired extent. It was unable to withstand the necessary load, resulting in the cords being stretched to the point in which the back of the head rested on the MDF support frame at the base of the design, creating discomfort for the user.

To amend this issue I removed the previous hammock I had weaved and created a new one with a tighter weave, which would be tensioned to a greater degree. This amendment completely resolved the previous issue, allowing the head to float above the MDF base, creating a very comfortable support for the users head.

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M3 3.6FINAL DIGITAL MODEL

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M3 3.7ASSEMBLY DRAWING PART 1

1. The five octagonal members are spaced evenly and positioned vertically.

2. The three rectangular members are slotted into the base of the design to provide stability.

3. The two triangular members are slotted into their designated places at an angle of 340 degrees.

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M33.8ASSEMBLY DRAWING PART 2

4. Net is woven with stretchable cord between the two triangular members to create hammock.

5. String is woven through holes positioned around octagonal members to create desired

pattern.

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M3 3.9FABRICATION SEQUENCE

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M33.10COMPLETED SECOND SKIN

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4.0 REFLECTION

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M4 4.1REFLECTION

Evaluate your process of designing and making the second skin against the notion of Craft outlined in the reading. Have you include a degree of design risk in your work?

With the introduction of digital processes a new wave of craft has been introduced to architecture, which involves the design process (Bernstein & Deamer, 2008). I believe the use of digital design processes is a craft in itself, while the making of the physical prototypes requires various craft, depending on the project at hand. Along with the cutting and connecting of the structure, the making of my prototypes involved the more traditional crafts of knot tying, sewing and crochet. Pye stated that the outcome of working with a material is ‘not predetermined, but depends on the judgment, dexterity and care’ of the maker. I agree with this wholeheartedly, I knew my capabilities as I entered the task therefore there was minimal risk involved with my project in this aspect. However, with trialing new methods there were some risks involved, however through the making of a number of prototypes these risks were eliminated. Hence, I think the inclusion prototypes and the testing of these prototypes was a critical part of the design process.

My experience with this subject has been positive overall. Though rigorous and very time consuming, I found the design process interesting and beneficial. I learned of the chaotic nature of the design and the constant moving forwards and backwards. I think it would have suited me better had there been more flexibility with the first three submissions. Although, I can see the merit in having predetermined guidelines and templates to aid with time management and completeness of each element. to the notions of personal space to create an aesthetically pleasing and extremely comfortable design.

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Throughout the semester my skills with digital design programs, in particular Rhinoceros, have been vastly extended. At the beginning of semester I had the most basic of understandings of the program, now, while I realise there is still a lot left to

learn, I have developed the skills to use a range of commands from very simple to very complex to achieve the result I wish for. This is something I will take away from this subject and be able to apply to future studio subjects I partake in, as well as in

my future beyond university.

I found the lectures of the subject great in developing my understanding of the aims and expectations of the subject and assessments, but also thoroughly enjoyed

exploring notable designs and architecture throughout the world. The readings, while varied, provided a vast array of knowledge expanding beyond just architecture.

I have gained insight on a variety of things that all aided in the design process. I found the studio sessions very enjoyable; I learned of the importance of asking

for feedback from students, teachers and anyone else willing to provide inspiration and help when needed. I particularly enjoyed the making studio at the start of the semester, as well as the making of numerous prototypes throughout the semester. I found this method of constantly making and then testing physical prototypes very

effecting, it is definitely something I will bring into my future design processes.

Despite the many challenges of the work of the semester, particularly those involved with group work, I am extremely proud of my final design which effectively responds

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5.0 APPENDIX

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M4 5.1CREDIT

*work completed entirely by Emma Martin unless noted otherwise Evelyn Kang Evelyn Kang and Emma Martin Mariah Mwapatayi Adrian Wong

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M45.2BIBLIOGRAPHY

Enric Miralles,Carme Pinos, 1988/1991, “How to lay out a croissant”El Croquis 49/50 Enric Miralles, Carme Pinos, En Construccion pp. 240-241

Heath, A., Heath, D., & Jensen, A. (2000). 300 years of industrial design : function, form, technique, 1700- 2000 / Adrian Heath, Ditte Heath, Aage Lund Jensen.New York : Watson-Guptill.

Cheng, R. 2008. Inside Rhinoceros 4 / Ron K.C. Cheng. Clifton Park, NY : Thomson/Delmar Learning, c2008.

Sommer, R. 1969. Personal space : the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J. : Prentice-Hall, c1969.A

Scheurer, F. and Stehling, H. _2011_: Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 _4_, July, pp. 70-79

Asperl et al, 2007,Surfaces that can be built from paper / In H.Pottmann, A.Asperl,M.Hofer, A.Kilian (eds) Architectural Geometry, p534-561, Bentley Institute Press

Kolarevic, B 2003, Architecture in the Digital Age - Design and Manufacturing /Branko Kolarevic. Spon Press, London

Marble, S, 2008. Building the Future: Recasting Labor in Architecture/ Philip Bernstein, Peggy Deamer. Princeton Architectural Press. pp 38-42

Rifkin, J 2011, The third Industrial Revolution. Palgrave Macmillan.pp107-126

Burnham Pavilion by Zaha Hadid architects. 2009. Dezeen. Magazine. Retrieved from http://www.dezeen.com/2009/08/24/burnham-pavilion-by-zaha-hadid-architects-2/

*Lectures referred to are run by Paul Loh, 2016

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