Module 3 Fabrication

Module 3: Fabrication

Weeks 6-10

Gianni Mancuso 637 278

University Of Melbourne, Virtual Envirnonments: ENVS10008

Module 1 Review - Pattern Relationship To Lantern

Module 3: Fabrication Weeks 6-10 Journal

My original pattern was a nautilus shell which has a simple fibonacci spiral. I further understood this pattern by creating a recipe that involves a logarithmically increasing spiral that gets larger and larger.

My lantern’s form was derived from the extrusion of my spiral upwards, and then through manipulation in Rhino I developed how it would interact with my body - through spiralling. The movement analytical drawing helped me develop an emerging form of a semi-circular spiral however I altered that during panelling to use a triangle. These triangular shapes represented movement and this is what I aimed to create in my lantern.

Module 1 Review - Overall Form And Interface

Module 3: Fabrication Weeks 6-10 Journal

The overall form of my lantern was largely influenced by the spiral concept from my nautilus shell. I wanted the pattern to dictate how the lantern was shaped and how I would hold it.

As seen in these images, the lantern was to spiral around my neck and subsequently around my arm. I thought that this was a unique method of interaction.

This spiral form provided me with various challenges such as integrating the lighting and even the amount of lighting to put into the lantern.

Module 2 Review - Lighting Effects And Prototyping

Module 3: Fabrication Weeks 6-10 Journal

The prototyping stage helped me under-stand how to construct a physically stable model, as well as how I had to integrate lighting.

The prototype I chose, shown to the left was the most structurally sound model, that also allowed me to achieve the effects I wanted to - which was to trap light but also splay it over the main triangular face above the opening.

Module 2 Review - Lighting Effects And Prototyping

Module 3: Fabrication Weeks 6-10 Journal

Through prototyping sections of four panels I learnt that that I had to create a triangle face on the end panel and then cut a smaller triangle out in order to create my de-sired design.

This prototyping confirmed that I was on the right track in trying to achieve my desired lighting effect.

Module 3: Partial 1:1 prototyping

Module 3: Fabrication Weeks 6-10 Journal

The image to the left shows my final model. This differs from my smaller prototype in that the triangular panels are variable from the top to the mid-dle and to the bottom.

The model represents the spiral of the nautilus shell in an elegant, ma-nipulated manner. The anatomy of the human body largely dictated the degree of manipulation.

The method in creating the 3d protrusions from the simple spiral was to create variable attractor points. After prototyping I decided I wanted to create something more with my model, so I placed attractor points that allowed the mid section of the model to appear as if it were bulging. This is where I wanted to then place the most intense lights.

Module 3: Fabrication Weeks 6-10 Journal

Module 3: Partial Prototype Photos

When making my prototype I tried to section my lamp into 14 components. This allowed me to systematically build my lantern, an also think ahead as to how I will install the lighting/wiring. The images above show the prootype of sections 10-6 from an aerial view.

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Partial Prototype: Construction & Photos

The construction of my model was relatively simple, as it was divided into 14 sections, or cells. These cells had a further 8 panels. Each cell was unrolled in panel groups of 3, 3 and 2, and occasionally 3, 3, 1, 1. This allowed me to effectivelly and effi-ciently create a strong model with the given materials.

Module 3: Fabrication Weeks 6-10 Journal

Module 3: Fabrication Weeks 6-10 Journal

Optimising For Fabrication And Materials

I learnt a variety of things about optimising my lantern for fabrication and materi-als. Firstly, the sectioning of my model helped me to a large extent in systemati-cally making my lantern. It enabled me to create each group of panels, and then the cell, and finally glue the cells together in the appropriate order.

In terms of materials I think I learnt the most. I discovered that while white card is structurally stable, it doesnt allow me to create the appropriate lighting effects. In addition the double card tabs interfere with the overall aesthetic appeal of the lan-tern. In order to avoid this for my final lantern I decided to experiment with black card. The LED light doesnt shine through the lantern, and the light is therefore better captured by the triangular openings. To further this effect of captured light, I will experiment with gluing tracing paper over the holes to capture light better.

Module 3: Fabrication Weeks 6-10 Journal

Module 3: Partial 1:1 Prototyping Outcomes

The first partial prototype I made was of the mid sec-tion, including 5 different ‘cells’. I found that the white card was too transparent and the tabs detracted from the aesthetic of the design. However the model was structurally stable.

The next prototype I constructed was of the top of the lantern. I used black card to avoid the

transparency and the tabs being visible. It was succesful. In addition it was structurally sound

and the desired lighting effect was retained.

Therefore I progressed to making a full scale lantern out of the 200gsm black card due to my

findings.

Module 3: Fabrication Weeks 6-10 Journal

Module 3: Fabrication Images

There were four stages of the fabrication process. Firstly, cutting the card. Secondly folding and gluing the pieces into sections. Thirdly, integrating a working LED circuit, and lastly gluing all the sections together to produce a working lantern.

Module 3: Fabrication Weeks 6-10 Journal

Module 3: Fabrication Images

Module 3: Fabrication Weeks 6-10 Journal

Module 3: Unrolled Final Model

In order to unroll my lantern correctly I had to triangulate all the faces, and then trim the triangular opening out. The tabs where cre-ated using grasshopper but were also altered using control points to ensure there was flexibility in tab size and that there were no overlaps.

Module 3: Fabrication Weeks 6-10 Journal

Module 3: Assembly DrawingEach segment, or section corresponds exactly to the one beneath it or above it.

To assemble it is important to have the Rhino File open to determine the corresponding panels, so as to assure the shape is not distored.

To integrate lighting a system of ribs was developed - the strip LED’s sit on ribs and the wiring goes through the entire model in a central column and out a small hole in section number 14.

Module 3: Fabrication Weeks 6-10 Journal

Module 3: Lectures And Theory AnalysisBen Gilbert - Agency Of Play Lecture Response

The lecture Agency of Play, delivered by Ben Gilber was interesting as he gave us a lot of insight as to how he translates an idea to a computer, and then to a physical form. The main point he made to us was through his blown up turtle shell sculpture. He and his team used various techiniques in order to translate the shapes, features and patterns of a turtle shell onto Rhino in order to retain its natural features. The result, at first wasnt correct. The miniscule discrepancies were magnified when the drawing was blown up. Therefore they employed different techniques, not neces-sarily involving Rhino to create a realistic, working turtle shell that could be blown up. His point was that to accurately translate something from an idea to Rhino, or to a physical state (or vice-versa) there is not one single formula that will work consistently. There is always a margin for error, and we should always be open to try different methods to build our Lanterns while retaining original ideas and features.

Gilbert also used various other sculpture examples that his team had cre-ated. They were all interesting and his methodologies got me thinking how I could utilise my prototype as an idea springboard in terms of optimising design and use of materials.

The Different Types of Fabrication

Two Dimensional Fabrication

2D fabrication is the most common technique used and relies on a tool that can cut on 2 axis - for example x and y. This includes various techniques such as plasma-arc, water jet, laser beam and even the card cutter.

Subtractive Fabrication

Subtraction evidently refers to the removal of mass to create a designed object. This involves techniques such as electrical, chemical and mechanical to cut away solids. This method uses a multi-axis cutter.

Formative Fabrication

As the name suggests, formative fabrication relies on techniques using steam, restrictive forms and heat to mould, reshape or deform solids.

Module 3: Fabrication Weeks 6-10 Journal

Module 3: Lectures And Theory AnalysisConstraints And Opportunities Of Using The Card Cutter

+ Can create hollow 3d objects through unrolling and folding without wasting much material - as would occur with subtractive fabrication+ Can create a relatively strong structure with the materials given+ Can use the the qualities of card to create spacial effects easily

- Limited with design in terms of materials- Limited in terms of strength of materials- can only cut in 2 dimensions

The Shift From Design To Fabrication

One aspect of the recent shift towards use of digital technol-ogy in fabrication is the increased ability to create unique structures from simple materials. The ability to do so has increased because as a designer you can push the limits within reason and capability of materials. In addition this shift has allowed designers to create structures that can literally be put together like a puzzle with very little margin for error. An example of this is the Times Eureka Pavillion.

The fabrication process directly effects the construction of my lantern as you come to truly understand the capabilities of the materials used when you have to physically construct something designed using digital methods. It allows us to find out where in our lantern we are creating something on Rhino that the qualities of card won’t be able to match, or we can physically see where the forces and tensions are acting and how the model distorts or squashes as a result.