Week 4: Project Matrix

Hi all,

This week we'll focus on your project matrix assessment which is due this Sunday the 30th of June. You'll submit your project matrix via your blog, so please ensure you have posted a link to your blog (and tested that it works!) in the comments section of the post below called: "Your Contemporary Fabrication Techniques Blogs"

The below is some advice on each of the parameters that you'll need to address. Keep in mind that we will treat the Project Matrix as a contract, and while sometimes departures from contracts are unavoidable we will only consider them in extreme circumstances. 

First, the Architectural Precedents

Googles dictionary tells us that a precedent relates to earlier work that can guide us in subsequent similar circumstances. They give these examples as synonyms: model, exemplar, example, pattern, previous case, prior case, previous instance/example, prior instance/example.

This course requires that your precedent be selected from the work of others. We require this for a few reasons, the first is to help ensure the quality of the work; if it has been published it's more likely that it has been subject to some peer review. It's also a good way to broaden your horizons. And finally, it helps you to analyse the work more objectively, without obvious internal bias.

You'll note that the precedents should be architectural which means that they might not necessarily be architecture. What does it mean to be "architectural"? Well, if the project employs material, light, surface, form or space in the service of shelter, commemoration, production, travel or leisure (to name a few) then it's likely to be architectural if not actually architecture. But we know from professional titles such as "software or systems architect" that "architectural" doesn't even have to employ physical attributes ... it can be about intangible or abstract relationships or concepts. In this context precedents such as furniture, musical instruments or even maps seem quite reasonable.

Your opportunity to argue how your precedent is architectural is in the two following sections on the Key Concept and How is the Key Concept Reflected in the Design Studio. We are very open to interesting precedents but do need to see intelligent, logical, arguments for things which stretch the boundaries.

One question we've received a lot is should they relate to each other and if so how? We ask for three precedents so that you can develop a range of fabrication experiences. If the precedents relate to each other it helps to focus your work (focus is good because it builds depth). But if they are too close they will appear the same and we will wonder what new experiences you will gain out of doing them. Differences might be accentuated through the choice of scale, material or technique. Note that if a precedent is especially complicated it could count for 2 or even 3 of your precedents.

You need to complete all the sections below for each of the three precedents.
Key Concept

Here you describe what it is that is special about the precedent you have chosen. Because this is a Masters level course we expect that your opinions are supported by, or contrast with, references drawn from the literature. If you struggle to find much discussion on the precedent you have chosen that may be an indication that it isn't as good as you first thought it was. References from books, journals and scholarly articles (searching Google Scholar for instance) will demonstrate that you've made a solid attempt to gather a range of perspectives (rather than simply citing a few architecture websites or only the designers own website). 250 words isn't much, a medium length paragraph, so you are really describing just one idea.

Selected Design Element

Again you have 250 words, but this time it's probably quite a lot ... so you will need to go into a little more detail than "I'll model the facade". Someone who has never seen the precedent should be able to locate it, and know for sure what the scope of your model will be. If it is a facade, does it include details of where it intersects with the roof,  or ground, or where it turns a corner or surrounds an opening. Be specific. If it is a guitar (a precedent chosen in a previous class) will you build the body, neck, adjustment for strings, the electronics? What is the "body" of a guitar? You'd need to describe that because most of your readers are not Luthiers. Though the selection and examination of your selected design element you will build up a level of expertise in it ... this section is where you demonstrate your sophisticated understanding.

How is the Key Concept Reflected in the Design Studio?

Not all of you are doing a design studio this term but the subtext to this question is the same; how will making this model be of use beyond satisfying the requirements of this course? So, rephrased, how will it be of use in your current design studio, or how will it be of use to your future design studios (taking into account which stream you are in), or how will it support your career aspirations outside of university?

Geometrical Description of the Shape

This section could have been called "things are often not as simple as they seem". Here you can demonstrate your careful review of the physical attributes of your selected design element. What are the actual dimensions and how do they relate to each other (does a formula describe the shape for example)? Imagine you are talking to a machine that can't think for itself ... write a set of descriptors that leaves nothing out.


Proposed Scale, Material, Technique

These three qualities are interrelated. Change the scale, for example, and you will most likely have to change the material and technique to suit. If your key concept demands that you work with a particular material, that demand will drive your scale and technique decisions. The key here is to look back to your descriptions of the key concepts for guidance. Also key is discussing your options with Daniel, me and the workshop staff to ensure you learn from past experience and aren't proposing to fabricate something that we don't have the resources to support.

Time commitment and budget

My rule of thumb is that building anything will take 3 times longer than you estimate. Keep this in mind when you are making your proposals. We are looking  for you to demonstrate that you have really thought through the process of fabricating your model. Have you estimated the time it will take to collect materials? What actual days will you use the Design Lab ... what hours ... will it be open, have you checked?

It's always disappointing to see how much money students have spent on their fabrications. We would much rather see you making components rather than buying them pre-made. Many of the fabricators on Instagram use the hashtag #builtnotbought. We encourage you to embody that spirit (even though, ironically, if no one bought what the Instagram fabricators built they would go out of business!).

We'll discus these issues and any other questions you might have in the Design Lab tomorrow. And if you have the Project Matrix finished then you can even get started on the first fabrication!

Regards

Russell

Week Three: CNC Milling, Vacuum Forming, Material Exploration, Workshop Network

Hi All, 

This week we have another busy schedule ... lots of exciting things to see and try. Below are some videos for inspiration and to get you thinking about how you might use the techniques introduced in the Design Lab. 

CNC Milling: Richard 

In contrast to 3d Printing CNC Milling is a more traditional subtractive process. CNC Milling is a development of traditional milling processes that have been around for over 200 years. CNC stands for Computer Numerically Controlled which means that the machine is controlled by software which gives a level of control/manipulation that exceeds what traditional Mill operators are able to do through hand-eye coordination. You can see that clearly in the clip below.



Vacuum Forming: Gabe

In vacuum forming a thin sheet of plastic is heated up until it becomes pliable. It is then draped over a form and vacuum is applied to suck the plastic towards the contours of the form until it is a precise fit. The wikipedia has a good explanation including typical uses and problems to avoid; here.



Material Exploration: Daniel

Daniel will use models and prototypes found around the Design Lab to illustrate a range of approaches in the application/exploration of materials. He'll show you where you can get free materials and go over whats available in the Design Lab shop. The materials in the shop have the advantage that the Design Lab staff have confirmed that they will work with our machines and are safe; they don't give off noxious fumes for example.

Workshop Network: Nichola

Nichola will go over the "Badge" system and then take you on a tour of our growing UNSW workshop network. The Michael Crouch Innovation Centre (MCIC) and the Engineering Maker Space are on the list. You might even get to see a waterjet cutting demonstration!



Casting: Maddy (?)

Casting is a fascinating process that several of you have expressed interest in. It also works really well in combination with some of the other techniques you've been introduced to. The video below shows how 3d printed parts can be used in sand casting aluminium. We don't have a high temperature furnace to melt metal, but the technique is very similar for creating latex moulds and casting resin for example.



See you in the Design Lab.

Russell

Week Two: Metal Shaping, Laser Cutting, 3d Printing, Wood Turning

Hi All,

After discussing options with the Design Lab staff this week we are going to cover four, rather that two, techniques: Metal Shaping, Laser Cutting, 3d Printing and Wood Turning. This presents two advantages: first, smaller tutorial group sizes (10-12 students each) and second, we will get an extra session to advise you regarding your project Matrix before it is due, or get a head start on your first Fabrication.

Metal Shaping and Laser Cutting a Bowl:

There are not many things you can do to a metal sheet to transform it into a complex shape: you can cut it, you can bend it, you can shrink it and you can stretch it. All of these processes change the overall area of the material you start with. Bending won't change the area much at all (practically speaking you can assume it doesn't add area for the work we are doing), but shrinking and stretching can change the area substantially.

If you add area to a sheet of material it has to go somewhere, and if you add the area in the middle of a plane the material surrounding it resists movement in that direction ... only leaving options for the increased area to go up or down. It's easiest to remove area from the edges of your sheet of metal; in this case less area means the material gets thicker. Working separately or together shrinking and stretching create shape (I'll create a post on Shape vs Form and Arrangement for more detail on this).

The Bowl is made in 3 steps: we will go over the below in class on Tuesday, but the steps are recorded here as a reminder and as an aid to comprehension.

Top tip? Do the least amount of shaping to achieve the result you need. In other words, really think about it before you start going at it with a mallet or hammer. 

Step 1, Laser Cutting, Daniel:

Illustrator and Autocad Files: Bowl Template and Female Radius Gauge

Laser cut the Bowl template consisting of a series of concentric rings ... you'll use these to trace around so you have a guide you can cut around for the 230mm disk and use the smaller ones to create guides for your hammering. It'll look like this:

Then ...

Create a female "radius gauge" to help guide and evaluate your progress. A female radius gauge is a concave curve in 2 dimensions that you can rest on your shape as it develops to test how far you have come and how much extra area you have to add. You have 3 curves to choose from; which one you use is up to you.

Once you've cut the disk from the aluminium make sure you file around the edges to "deburr" it (deburring is the act of removing any sharp edges) so you don't cut yourself.

Step 2, Shrinking and Stretching, Russell:

We won't need to bend the material to make the Bowl, but so you have a complete understanding of the processes available to you the two diagrams below describe the mechanics of a bend.

If you choose a smaller radius to create a deeper bowl you will need to shrink the aluminium around the perimeter of your disk. Use the shrinking "stumps" (which, in our case, are depressions cut into slabs of plywood) and the mallet to create "tucks" in the aluminium sheet which you then hammer down into themselves causing the material to shrink (subtracting area) and thicken. Be careful not to hit yourself in the hand or jamb your hand between the aluminium and the stump below. See below:

 


Stretching adds area by making the aluminium thinner. You can do this by squeezing the aluminium between two hard objects (a hammer and dolly for example ... or the English wheel that you'll use in the next step) or unsupported over a depression (the depression in your stump for example) or with some support offered by a sand bag. The sand bag option is the best balance between speed and control. See the demo below:

  


3. Planishing, Russell:

While you can use a hammer and dolly to planish (smooth out or flatten) the lumpy shape you've created in steps 2 and 3 above its faster to use the English wheel. As I mentioned last week the English wheel works like a linear hammer ... squeezing the aluminium in lines rather than points. Watch out for pinching your fingers! See below for a demo:


Keep checking the shape with the radius gauge as it develops; your aim is to get the radius gauge to fit as best as possible to your finished bowl.

3d Printing, Maddy and Micha:

Most of the 3d Printers we have in the Design Lab are Fused Deposition Modelling (FDM) printers, but while they are common they are not the only 3d Printers you can get. Others have strengths and weaknesses and this video explains in clear, easy to understand, language:



Wood Turning, Gabe:

Wood turning is the process of carving wood as it spins around an axis on a lathe. The results are almost always symmetrical. This demonstration introduces you to the basic concepts:


  
Followed by the second part where he turns the cylinder at the bottom:



You could spend a lifetime perfecting each of the techniques we'll introduce in this class, but with basic skills you'd be amazed at what you can achieve.

Regards

Russell