Barry VoStudent Number: 585236 Semester 1/2012 Group 8

Unrolling and Labeling

Tabs

A problem with using grasshopper (shown on the left) is that all the tabs are af-

fected when the width and slider option is changed. So if the tabs were modifi ed

smaller due to sharp corners, the other edges will also have small tabs. Making the

tabs manually in Rhino (shown on the right) allows more fl exibility but it would take

longer to make.

Nesting

I left some empty spaces so that during the prototyping stage, I

can use it to experiment with things fi rst before constructing it.

Prototyping

I made my fi rst partial prototype with printer paper and a

scale of 1:3 because I haven’t sent the fi le to the fablab to

print it out on A1 paper. I guessing that there will be many

fl aws in the process of making the model so I decided to

make it small and quick. However, it was harder because the

tabs were really small.

It was necessary to use an object with a straight edge to

guide the Stanley knife to make the cutting process faster and

more accurate. Although this is a small partial prototype, it

has allowed me to get used with cutting, folding and gluing.

The lighting made the tabs

appear quite distinctively. This

is when I glued the tabs onto

the adjacent surface. Another

method of attaching the surfac-

es together is by connecting the

tabs from both surfaces. I used

this method three times and it is

located at the top of the model

in the picture on the right. As a

result, it allowed more light to

pass through.

I’ll be using the black card

200gsm so it may be hard to

identify the tabs.

Materials:

Gluestick

Stanley Knife

Ruler

A4 Printer

Paper

Scale:

1 : 3

PrototypingI ask for the fi le to be scored and cut on black card 200 gsm; however, there was a mistake so it was

scored and cut on white ivory card. So I sent the fi le again. Before it is fi nished in three or so days, I

went ahead with the prototyping with the A1 white card.

Any triangles that weren’t cut out properly are cut

out with a Stanley knife. A ruler is used to aid the

straightness of the cutting path. The boundary of

the strip is also cut with care in order to avoid any

rips.

The strips are then folded before attaching them

together. I decided to not cut out all the strips at

the start so that I don’t have to worry about using

the wrong one. Once I’ve attached the fi rst two

strips with PVA, I then cut the next strip whilst I let

the PVA settle.

The tabs are connected together perpendicu-

larly to see if the lighting still makes the tabs visible

through the card. When I apply the PVA and at-

tach the two tabs together, it is still slippery; how-

ever, holding it together with my fi ngers for a few

seconds enable the PVA to settle a bit and hold

the tabs together. After that, the bull clips are used

to fi rmly hold the tabs, which will stop it from com-

ing apart when I fi ddle with the neighbouring tabs.

Materials:

PVA

Bull Clips

Stanley Knife

Ruler

Ivory Card

Scale:

1 : 1

PrototypingAt sharp corners, a bit of the outer

surface of the card was peeling off.

It’s not a major problem but this will

make me more careful in folding

and connecting the tabs together

for my fi nal model.

The lines that were scored were

easy to fold away from the score.

However, when it was folded to-

ward the scored surface, it created

small creases and wrinkles. Likewise,

it wasn’t visible when the model is

seen at a distance. One method of

reducing the amount of wrinkles is

by cutting lightly on the other side of

the card; however, this would take

up much more time.Overall, I am satisfi ed with the appear-

ance and method of attaching the tabs

together. One more thing to experiment

with is the lighting.

PrototypingLighting

Even when I attached the tabs of both

strips, the tabs can still be slightly seen.

I’m just hoping that it won’t show as

much when black card is used.

After building nearly half of the model, I

am confronted with the problem of how

to place the LED lights in the model.

Although I have only experimented with

one LED light in the prototype shown

on the left, I have decided to use three

LED lights for my lantern because one of

main characteristics of fi re is the bright-

ness of it. I intend to position two LED

lights close to the bottom because it

relates to how the fi re is really bright at

the start of ignition; however, I don’t

think there is any need since the holes

are decreasing in size as it goes up the

model.

Fabrication

1. Carefully cut and fold the strips 2. Use the left over bits to spread the

PVA

3. Press the tabs together for a few

seconds before using bull clips

Materials:

PVA

Bull Clips

Stanley Knife

Ruler

Black Card 200gsm

Scale:

1 : 1

Fabrication

This something that I didn’t realise after

I compared the fi nal model and proto-

type. At fi rst when I looked at the model,

there were areas of the model where it

was like it was pulled into the centre. I

didn’t think this was a mistake because

the strips were connected together

perfectly. However, my prototype was

affected at different areas. Therefore,

I tried to force it out on the prototype

before doing it on the fi nal model. It was

successful and the model didn’t rip.

On the right is a simple illustration of why

my model was constructed incorrectly.

Two ways the panels can be connected together

FabricationLighting

Materials:

Solder

3x LED Lights

Batteries 9V total

Wires

Here is an example where I made use of the left over

black cards. I used it to avoid any possible solder to

come into contact with my table.

1. Heat the two things that you are going to connect.

2. Melt the solder onto the wire

3. Let it rest for a few seconds and the solder will harden

FabricationLighting

The parallel wires were joined together with sticky tape to make it look neater. Two of

my 3V batteries weren’t fully charged so I changed to this 9V battery. The pros of using

this battery is that I don’t have to worry about keeping the three 3V batteries in place;

however, it was bigger and slightly heavier. I made a small pocket for the battery from

the left over black card and glued it to the model with PVA. Before I joined it, I pierced

the pocket with a safety pin so that the wires can be hung on that. Thus, I made a loop in

the wire to hook it. I purposely made the loop a bit further away from the end of the snap

connector so that it could be taken out and connected to the battery (as shown on the

left). The advantage of the safety pin is that it can be disconnected from the model and

take out the wires. I made three knots in the fi shing line so that I could adjust the distance

between the ceiling and the model.

Materials:

Sticky Tape

Black Card

Safety Pin

Battery

9V Battery Snap Connector

PVA

Fishing Line

Fabrication

The end of the wired LED lights kept moving

around; thus, getting caught in the cracks

of the holes. So I cut a small line in a strip of

black card so that I could open it up and

make a circle large enough to pass the

LED light through. After it is pulled through, I

stretched the black card out so that the LED

light couldn’t go back out. By placing this at

the bottom, this stops the bottom LED light

from moving around and also keeps the line

of LED lights vertically straight.

Materials:

Stanely Knife

Black Card

PVA

Fabrication

I experimented with the shadows by adjusting the

distance between the ceiling and the model. As I

mentioned before, I made three knots in the fi sh-

ing line. I used the middle knot to hang on the

hook which was already attached to the ceiling

(as shown in the top left image). The shadows are

decent. The images at the top and to the left are

placed in my room where this is large amount of

space , in comparison to the hallway where the

shadows are casted onto the walls. In addition, I

reduced the distance between the model and the

ceiling in my room, which gave a sharper image of

the shadows. In the end, this lantern is better placed

closer to a large ceiling.

PrecedentsFLUX: Architecture in a Parametric Landscape

Year: 2009

Location: California College of the Arts, San Fran-

cisco

Over the last two decades, technology has been

continuously developed from simple representa-

tional tools to more advanced “performative ma-

chines”. This has reshaped the ways architects and

designers explore space and material. They are

now integrating more complex geometries into the

design process through developed methodological

strategies.

This exhibition by CCA Architecture/MEDIAlab

“focuses on the emerging fi eld of advanced digital

design”. The new parametric modelling techniques

allow the installation to be quickly reshaped to con-

form the design criteria. “From the thickness of the

ribs to the overall twisting geometry and perforated

skins, the spatial form of the armature is controlled

through a complex set of relationships defi ned by its

formal, performative, and fabrication constraints”.

Images 1-5

Precedents

Year: 2007

Location: New York

This project is located in the lobby of a fashion de-

signer’s studio in Manhattan Tower. The main idea

here is that architects and designers heavily depend

on digitally assisted fabrication to develop and

create a successful outcome. Matsys explored the

design concept by creating several rhino scripts.

As shown on the right, they have rendered the proto-

type digitally, which is a quicker process of testing the

lighting. The two tables at the bottom relies on digital

information to illustrate and compare the prototypes

in a easy and orderly manner.

Night Lighting Natural Light Artifi cial Light

Smartcloud

Images 6-10

Refl ectionWith technology improving at steady rate, it will defi nitely transform the

way we digitally fabricate projects and the methods associated with it.

This is clearly evident in the design of architecture throughout our history.

Ever since fabrication was possible digitally, architecture have been rely-

ing on them for more modern and complex designs. To design an archi-

tectural building as complex as the ones today without the assistance of

digital fabrication will be virtually impossible.

The difference between digitally enabled fabrication in my project and in

professional practice is the material and technology available. Although

professional practice may have more material to experiment on, the aim

is generally the same, which is to explore errors or areas with potential

development.

Modelling is a fi rst for me. It is something I avoided it in high school be-

cause it would be diffi cult to make under no knowledge of softwares that

can unroll panels, for example. However, this experience in this module

is intriguing but long. Prototypes are essential in exploring things that you

can’t fi nd out by only using digital information. It introduced me to things

that I didn’t consider when using Rhino, which is how to attach the lights

and battery. It gave me another perspective of the model, which can

produce new ideas that could make the fabrication more effi cient or

sustainable.

References

Image 1-10: http://matsysdesign.com/tag/digital-fabrication/