Ddf m2 group 1(alice jiang, chester wong, steven lee, nicholas collins) amanda tutorial 7

DIGITAL DESIGN + FABRICATION SM1, 2016 M2 JOURNAL - SKIN & BONES Alice Shan Jiang (783943)

Group Members: Steven Lee (685769) Chester Wong (618157 Nicholas Collins(758427) Tutor: Amanda Tutorial Group: Tutorial 7

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Sketch Design Development

During the group discussion, there were various interpretations surrounding how our sketch design should proceed, since each group member has different ways of comprehending personal space.

From my perspective, personal space is most prominent around the front of the person, because most of the time we are looking forward and focusing on what is happening around the front of our body (within our field of view). On the other hand, entities which are below our height usually seem less threatening from a visual perspective, hence the lower body’s personal space does not extend as much when compared to our upper body.

The second idea which we took into consideration was Alice’s sketch design, which involved forming minimal surfaces around the subjects’ bodies.

Compared to other initial design ideas, this one stands out as it attempts to explore the idea that second skin design can incorporate more than one subject.

This sketch design focuses on the personal space around a couple which tends to share personal space to create the effect of intimacy.

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Refined Sketch Model

In this session, we combine the sketch models of Steven & Chester. It is mainly explored how strings can perform both as skin and bones. We found that the bone structure is defined when a bunch of strings twisted together, while the skin structure is created when those strings spread out. In other words, it enables us to create an intersecting skin&bones system by changing the density of strings.

Then we push it a bit future to explore how the strings can create various patterns depending on different ways of connection.

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2nd Skin proposed design V.1

figure 1: Top View of Proposed Design V.1

figure 2: Elevation View of Proposed Design V.1

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figure 1: Isometric View of Proposed Design V.1

eye contact is enabled by uncovering the eye

figure4: Research Image of first meeting people

Field of arm movement: arms can move around

In the reading of “Personal Space”, Sommer argued that people tend to take two type of actions when their personal space is invaded, one of which is defined as “Aggresive Action”. It is mainly talked about taking aggresive gesture such as raised arms to protect personal space. Indeed, by moving the arm around, people can protect themselves and define their personal space in a positive way. It is also a more efficient structure than covering the whole body. Thus, we decide to focus mainly on the arm.

to protect the body possitively

figure5: Precedent image of Burnham pavilion stucture physical contact such as shaking hands is also possible

figure6: Sketch of personal space defined by arm movement

The design brief is spicified as meeting a stranger for the first time when people would like to show friendliness but they keep distance because they are still unfamiliar with each other. Thus, we designed a structure mainly around the arm to protect the person from unwanted body touch and cover half of the face. Derived from what we have learned from the Bumham Pavillion, we adapeted a serious of continuous loops not only to create a volumn but also to provide a visual protection, since it is hard to see through dense structure. Also, it is worth mentioning that the area around eyes and hand is opened up to leave possibility of visual and physical contact. W

figure7: personal space mapping

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2nd Skin proposed design V.2

figure 1: Top View of Proposed Design V.2

figure 2: Elevation View of Proposed Design

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figure 3: Elevation View of Proposed Design V.2

This design is oroposed based on defining personal space between couples. It is noticed that people tend to lose their individuality in relationships. However, in a healthy relationship, two persons can be close and intimate, but they still need private time. Thus, we designed a structure that help couples to have emotional and intelligenct contact as well as independency.

Inspired by the project of “Paradise Entry Pavilion�, we adapted the idea of minimal surface in our design. It is an appropriate reference because couples can share maximum space with the minimal surface creating minimal volumn in the middle. figure 4: Research Image of Personal Space between Couples

figure6: personal space mapping between couples

figure5: Precedent image of Paradise Entry Pavilion

The structure opens up the areas around chests and heads, which enables couples have emotional and intelligent contact. Meanwhile, both of the arm area of the two persons are protected to encourage them develop their own hobbies and private activities. We design identical structure on two genders ,which makes the whole structure look symmetrical. It is because this design still wants to emphasize the inseparable entity of couple while maintaining individuality rather than emphasize the gender. This idea is also expressed through the entwined wires connecting the two persons, which symbolises the subtle but strong connections between couples. Overall, it is a philisophical and symbolic design, although some problems remains unsolved properly.

figure7: sketche design

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Precedent Research Research 1 Precedent Burham Pavillion, Zaha Hadid

Volume/Layering/Spacing

The structure’s frame consists of steel members wrapping around forming a shell shape. The struture has a membrane made of fabric however due to the shape of the shell the membrane appears to have a layering effect and also has gaps to give an ‘alien’ shape and look to the structure Zaha Hadid’s Burham Pavilion is one of two such strcutures which were built in order to celebrate the anniversary of the Plan of Chicago and is used as a symbol for architectural growth and progress.

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Precedent applied design Precedent applied to to design Volume/Layering/Alien Pattern

Taking inspiration from the precedent, we tried exploring ways to adapt the nature and design of the structure and incorporate it into our concept. Rhino models were made to try and model the frame of the pavillion and play around with how the bone structure itself could become the membrane in place of fabric. The shape was also utilised in order to give to original design more volume and at the same time give off a distinct but ‘alien’ design in order to accentuate an uninviting aura.

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Precedent Research 2

Linear constructions â&#x20AC;&#x201C; by Naum Gabo <Bone structure with wire skin> These models made from nylon filament wound between plastic planes. The wound filaments give the sense that the object is three dimensional by creating volume linking the planes.

Naum Gabo created many sculptures of this kind. He tried to create form without mass. This means to have a shape and skin of the object but hollow and exoskeleton-like. His work is smooth and organic, with the bones flowing in continuous lines. The way the wire skin is threaded ads depth and has varying texture due to the positions of the individual wires.

We tried exploring ways in which a wire skin on a plastic bone structure can create volume, how different patterns of weaving can give a different sensory effect. We explored how different shapes and configurations of the bone structure can lead to different skin patterns and forms. We made sketches and Rhino models of these bone structures, and then after laser cutting some pieces of the bone structure we explored how the threads could be combined in different ways to create form and texture.

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Precedent applied to design The linear connection methodolody introduced by Naum Gabo can be applied to proposed design V.2.

In the Proposed Design V.2, we initially would like to explore the idea of minimal surface. However, the effect is actually hard to archieve because it is difficult to find the tensile material which can form the minimal surface and gives a delicate finish at the same time. This problem of materiality remained unsolved until we found the example of Naum Gabo. Now we can use the rotation of linear members to form a curved surface, as shown in digital models on the upper right cornor.

In terms of the overal shape, there are two ways of applying the precedent study. The first one is to use a series of large bone members fixed to the rail as the guideline, and then cover the bone structure using wires to form skin structure and solidate the volumn of the whole structure. It is relatively easier to be fabricated. The second version is to use a repetition of a small module around the vital areas of the body. The size of the small module can vary to better fit on the body. Also, the overlapping of the small modules can give more complex and aesthetic patterns.

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Design development - Version #1

figure 1: Top View of Developed Design V.1

figure 2: Elevation View of Developed Design V.1

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figure 3: Isometric View of Developed Design V.1

Reviewing the Proposed Design V.1 We found the Proposed Design V.1 is too linear and lacing complexity and variation, since the whole structure is si,ply composed of flat circular elements parallel to each other. We still want to keep the idea of forming skin and bone structure out of one material by increasing or decreasing density, but the overal shape should be carefully reconsidered.

Summary & Rational of the Developed Design V.1 Incorporating the precedent study of the Burnham Pavilion and other multidisplinary examples, we decided to have rotated cicular elements rather than flat loops. By simple rotating wires, we are able to create more complex pattern of different density and nice gradient. Gradually, we started to create a small module that gives more coverage when the cicular members meet together while less when they spread outwards. In this model, it is hard to tell which part is the skin and which part is the bone because they are actually intersecting and interchanging.

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Design development - Version #2

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Reviewing Initial Design Aliceâ&#x20AC;&#x2122;s proposed design did not turn out to be exactly what we wanted, as we thought that the minimal surfaces would be more aesthetically pleasing and could be implemented without much trouble.

In reality, it was much harder to implement and did not meet our initial expectations in terms of visual impact and design aesthetics.

Hence, we decided to revise the original proposal and re-think our overall approach and develop an alternative design based on our precedent study.

Origin of the Developed Design From looking at the original design, we wanted to develop an alternative solution which are more practical and aesthetically pleasing.

We began by placing the two guide line rails which maps the boundaries of the personal space, and they would encapsulate the skin and bone structure, which are added in after.

Incoperation of Precedent Study After we were satisfied with the overall shape of the newly developed design, we moved on to experiment with how the Linear Constructions precedent research can help us construct the surface of the design.

It was then decided that we would implement the skin layer by using strings in tension, which led us to the final design shown on the previous page.

About this Developed Design This newly developed design continues to explore the idea behind personal space of individuals who are in an intimate relationship with another person. In addition, the design is also extended to the encapsulate concept of keeping a reasonable distance between each other without undermining the ongoing relationship.

The Perspex circular base located above the chest with arms attached perpendicularly is meant to illustrate how everyone has rights to keep their own thoughts in their heart, even if they are in an intimate relationship with another person, they are not obliged to sharing all their secrets and private thoughts. The perpendicular arms symbolise layers of protection which protrude outwards with various strings forming a mostly transparent skin, allowing outside ideas to come through.

Step 1: Guide Line Rails

Step 2: Inclusion of Arm Structures

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Prototype

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Digital Prototype (Perspex Frames 1st Attempt) Stages

1. Chose the front structure for prototype

2. Lasercut the Perspex Board

3. Effects & Issues

Problems with the First Prototype Once the front section was chosen for prototyping purpose, we separated all the pieces into individual segments and sent it to the Fabrication Lab for laser-cutting the Perspex board.

Major problem appeared as soon as we attempted to assemble the Perspex parts. As it turned out, we did not leave sufficient amount of offset at the end of each Perspex frame, consequently the tips which are meant to join with the circular base plate were extremely fragile. After a few attempts of connecting the frames to the base plate, most of the rectangular joints snapped off.

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Digital Prototype (Perspex Frames 2nd Attempt) Stages

1. Designed a smaller but more rigid frame.

2. Lasercut the Perspex Board

3. Effects & Issues Problems with Assembly The small connector shown above turned out to be ineffective in a long-term usage scenario. As we started to joining strings from one frame to another, the connector module began to suffer from permanent deformation. Eventually, the module snapped in half due to the unsustainable bending moment.

Fortunately, all the other parts could be attached with no major issues, thus allowing us to move forward to in-depth testing of the prototype.

(This time, three different types of Perspex frames were produced for testing.)

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Testing Effects

From the two prototypes constructed, we were able to test the effects of the second skin visually and document every step photographically.

We found that the first prototype with only white strings, required very specific backgrounds to be visually impactful as the white colour could easily blend into other lighter backgrounds.

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Testing Effects (continued)

Through the second prototype involving black and white strings (above), we found that we were not only limited to creating curvature and volume in 3D, but also different layers which can be used to suggest different levels of privacy when we are mapping out personal space.

For instance, the region covered by only white string could be used to represent a more open personal space, while the region covered by only black strings can illustrate the idea of more private personal space.

This then leads to the final layer with black and white strings crossing each other, which can be used to convey the idea of an intimate private space, which is reserved for the subject himself/herself.

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Appendix References Fairs, M. (2017). Burnham Pavilion by Zaha Hadid Architects | Dezeen. Dezeen. Retrieved 2 April 2017, from https://www.dezeen.com/2009/08/24/burnhampavilion-by-zaha-hadid-architects-2/ Linear Construction No. 1, Naum Gabo 1942Ăą3 | Tate. (2017). Tate. Retrieved 2 April 2017, from http://www.tate.org.uk/art/artworks/gabo-linear-construction-no-1-t00191 Linear Construction No. 2, Naum Gabo 1970Ăą1 | Tate. (2017). Tate. Retrieved 2 April 2017, from http://www.tate.org.uk/art/artworks/gabo-linear-construction-no-2-t01105

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