DDF_M4_Alice Shan Jiang (783943) by Alice Jiang

DIGITAL DESIGN + FABRICATION SM1, 2017 The Extended skin Alice Shan Jiang

(783943) Amanda + Group 7

CONTENT 1.0 Ideation 1.1 Object 1.2 Object System Analysis 1.3 Sketch Design Model 1.4 Three Sketch Design Proposal 1.5 Critical Analysis on Module 1 2.0 Design 2.1 Design Development Introduction 2.2 Design Proposal V.1 2.3 Precedent Research 2.4 Design Proposal V.2 2.5 Prototype & Testing Effect 2.6 Critical Analysis on Module 2 3.0 Fabrication 3.1 Frabrication Introduction 3.2 Design Development of Prototype V.2 3.3 Design Development of Prototype V.3 3.4 Prototype Optimisation & Final Prototype Design 3.5 Final Digital Model 3.6 Fabrication Sequence 3.7 Assembly Drawing 3.8 Photos of Completed 2nd Skin 3.9 Critical Analysis on Module 3 4.0 Reflection 4

0.0 Introduction This journal unfolds the process of a continuous design project about â&#x20AC;&#x153;defining personal space with a second skinâ&#x20AC;?, This design process intimately relies on the application of digital design softwares and digital fabrication. This journal consists of 4 modules: Ideation, design, fabrication and reflection. Each defines how we move from studying a chosen material system to digitalising the sketch design to applying these learning outcomes to final project through fabrication.

1.0 IDEATION

1.1 Object - Measured drawing

1.1 Object - Rhino Model 12

1.2 Object System Analysis

1.5 Critical Analysis on Module 1 In this module, I was informed of three main material systems that used commonly in the ﬁeld of digital design, and I focused on the Skin & Bones system which I would continuously explored throughout the whole subject and my ﬁnal would be based on.

I chose the umbrella as a typical example of the Skin & Bones system. Initially, I was interested in how the skin and bone system change at different stages of opening an umbrella, which made the ﬁrst two steps of drawing and modelling unexpectedly challenging, because it cost efforts to show the loosen skin of the umbrella when it closed. However, in this process, I have learnt various ways of producing an accurate measured drawing, including tracing on photograph and 3D scanning, which contributed to my work.

After drawing and modelling, I have gained a better knowledge of how skin and bone were closely related and could influence each other intimately. Then I started to produce a sketch model and attempt to design a second skin. This was largely contributed to precedent research and my understanding based on the Sommer’s writing of Personal Space. There are three aspects from the reading interested me the most, the “characteristic aura”, the “flight behaviour” and the “daylight phenomenon”, and thus my three sketch proposal attempted to give three different solutions of defining personal space. However, it is critical to have a sketch model not so related to the three sketch designs. Although the sketch model showed potential in later modules, I still found it was shameful that I did not explore it enough. I could have explored the qualities of density and opacity in the sketch model, and how these qualities could be related to personal space.

2.0 DESIGN Groupwork with Chester Wong, Steven Lee & Nicholas Collins

2.1 Design Development Introduction

During the Group discussion, there were various interpretations surrounding how our 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, because most of the time we are looking forwar and focuing on what is happening around the front of the body (within our field of view). Other ideas we took into consideration including employing minimal surface, and the interest in defining personal space between couple which tends to share peronal space to create the effect of intimacy.

2.2 Refined Sketch Model

2.3 Design Proposal V.1 - 1st idea

2.3 Design Proposal V.1 - 2nd idea

2.4 Precedent Study

Linear Construction - by Naum Gabo <Bone Structure With Wire Skin> These models made from nylon filament wound between plastic planes. The wound filament give the sense that the object is three dimentional by creating volume linking and planes. Naum Gabo tried to create form without mass, which 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 contiuous lines. The way the wire skin is threaded adds depth and has varying texture due to the composition of wires. We tried to explore 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 structurecan lead to different formation.

Front Elevation

Right Elevation

Isometric

Plan

Elaboration on Design Process After conducting the precedent research on the Burnham Pavilions, we developed the original design which we thought was too simple and linear, as there were only flat circular elements been stacked on top of each other. Our revised design adds another level of complexity on top of the original design, as we aimed to deliver the idea that our personal space is only partially open when we are meeting someone else for the first time.

Bottom-up Perspective View

Close-up of the Head Structure

This design development makes use of the concept 1 from the Burnham Pavilions precedent study to create spherical skins around the subjectâ&#x20AC;&#x2122;s head and arms. The modularised spheres were scaled and adjusted accordingly to achieve the intended effect of been half-open and half-closed at the same time. The close-up image of the right side of the head shows that the ears are covered almost entirely, but with gaps which still allow the sound waves through. This is intended to create the effect that our subject is constantly filtering and analysing the conversation with the person whom the subject is meeting with. Similarly, the close-up image of the head structure indicate that the visual communication is constantly been filtered as only the right eye is fully exposed to the environment.

Right Side of Head

Front Elevation

Right Elevation

Isometric

Plan

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

2.6 Prototype & Testing Effects

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.

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.)

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. 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.

2.7 Critical Analysis on Module 2 In this module, what I found most crucial was group-working. Moving from different ways of comprehending personal space, our group members could not reach and agreement of one solid concept at the beginning. Thus, we looked at several different directions, and the first prototype was also not so related to these ideas. In this process, I distributed most to the Proposal #2, which attempted to discuss the personal space between an intimate relationship by applying the idea of minimal surface. However, I met several technical problems while digitalising the idea, which resulted in an underdeveloped digital model. It is probably because this digital model failed to visualise the idea, it was eventually abandoned, and we tried to focused on defining personal space when people meet somebody at the first time. Here, I reflect on Scheurer and Stehling’s writing about “abstraction” and “reduction”, and I think the biggest different between these two terminology is that “abstraction” means using minimal language to express the idea and abandoning unnecessary details, while “reduction” means “finding the optimal way to transport it, hence rewriting the description without altering the content” (Scheurer and Stehling, 2011, p.75). I criticise my rhino model to be too “abstracted” and lacking of necessary details. The precedent study of Naum Gabo was really influential and continuously contributed to our design. The delicacy of using a transparent bone with a dense mesh skin led us move away from a rectilinear design. It is after this precedent study that our group found a clear direction. We started to test the quality of transparent material such as perspex and what visual effect we could achieve with these qualities.

3.0 FABRICATION Groupwork with Chester Wong, Steven Lee & Nicholas Collins

Introduction During the module 2 presentation, our group was able to receive invaluable feedback from both our assigned tutor, Amanda, and guest critic, Chen. Most of the feedbacks were focused on how we should be pushing the limit of the perspex frames more (reduce frame thickness, decrease frame width and hole size), and how the joints of the perspex pieces should be incorporated into the overall design. The prototype which focused on building curved surfaces (shown on the right) was better received, as it produced interesting curvature through bending the perspex pieces. On the other hand, the second prototype which explored the idea of utilizing two different types of string was not as interesting as the other counter-part. Hence, we decided to focus mainly on developing the first prototype further.

Design development The first design which we developed after module 2 focused on the idea of how similar-sized triangular pieces can be used to populate the frames around the body, and then use ideas similar to Naum Gabo’s linear construction sculptures to form a layer of skin on top by using strings/wires. The strings will also serve another purpose, which is using tension to hold all the

About the Images

Three Rhino renders are shown at the bottom, which illustrates the model which we were attempting to build.

We aim to achieve this through the construction method of using the flexibility of perspex to create curvature, and then forming skins between each element by threading strings/wires between them.

However, this design development’s growth did not meet the group’s expectation, mainly because it was not particularly pleasing aesthetically and was not a good indicator on how we wanted to express our personal space in a three-dimensional world (the elements were simply too repetitive, and they were not able to provide a good sense of contrast). Therefore we eventually moved on to another design which involved building a frame around the subject’s neck and then extending modules on top and around the frames (shown in the next 2 pages).

On the right, we have two of Naum Gabo’s linear construction sculptures (top and middle images), which we were aspired to create something similar, but yet unique in our own way.

In the end, our design will be able to extend personal space based onthe original concept drawing which we came up with during module 2 (shown at bottom right).

Design development + fabrication of Prototype V.2 Through experimenting with the existing perspex pieces we have obtained from laser-cutting. We were able to produce interesting shapes and frames which we thought had potential for further development. The first step we took was building a large hollowsphere-like object (top image on the right) which is made out of smaller triangular frames with tiny holes positioned near the outer rims. Due to the flexibility of the perspex frames, we were able to bend various element and join them all together with relative ease. However, the more challenging part was how we could position this large element onto the body while maintaining overall structural balance, so that the frame would not fracture or fall apart once the assembly is complete. After spending some time experimenting the positioning on our team mate, we were able to successfully attach the large spherical element onto the body of the subject (shown in middle and bottom images), while ensuring it is self-balanced. Unfortunately, due to the fragile characteristics of the perspex frames, any abrupt movement from the subject or external impact mean that the overall structure would fall apart.

Rhino Modelling of Prototype V.2 This is one of the parts which we overlooked initially, as the skin and bone material system often involves bending the elements, which means there was no way which we can depict the real-life model with 100% accuracy. Therefore we took another approach which approximated the overall design to a certain extend. During the modeling phase, our group has attempted various different ways on how we can accurately simulate the curvatures resulted from bending the triangular pieces. However, the Rhino commands such as “bend” and “scale” were simply not able to give an accurate output. We eventually opted for the easier path of modeling the second skin’s frames by modifying each shapes individually and place each of them in their corresponding position as accurately as we could. Fortunately, the three-dimensional Rhino digital models were not compulsory for the fabrication process, as we only needed to draw the two-dimensional cut-outs for perspex sheets for laser-cutting.

Reading Response Wk 6 Architecture in the Digital Age - Design + Manufacturing/ Branko Kolarevic, Spon Press, London c2003 Kolarevic talks about different methods to which a 3-dimensional object can be constructed. This includes: two-dimensional fabrication, where a flat two-dimensional sheet is cut using a laser or other method (shown in figure 1). We found it weird that water can be more potent to cutting thicker materials than a laser due to its high pressure. Another method is subtractive fabrication. This involves taking a large solid and chipping away like a sculpture. However, this is done through a computer programed drill. A problem with this method is that the machine can only cut from a birds-eye view, unless a 5-axis system is used. We used this method to cut out the pieces of the bone structure of our design. Once cut the pieces could be bent to create the desired shape. Lastly there is additive fabrication, where the object is built from the ground up. This includes 3d-printing and spray on techniques. This method can be time-consuming for large projects and requires a structure to be built up as well to create overhangs, wasting material.

Kolarevic then talks about the construction process. He talks about how three-dimensional surfaces can be transformed to work with the digital design strategyâ&#x20AC;&#x2122;s. One method the creating a rib/bone structure to which the surface can bend around. Another is to transform the curved three-dimensional surface into a ruled surface made up of straight lines. We found that on their own these techniques can reduce the organic form of the surface, and a combination of them can create a better version of the desired object. We used the lines of a ruled surface as the wires of our design (shown in Figure 2). This allowed twists and a weirder form for our design. One useful tool in adding these wires in the design was grasshopper, which helped us break up and link the pieces. Another aspect of the assembly is the material used. This impacts the look of the final object as well as how heavy and strong it is. Recent introduction of malleable and formable materials has allowed these more ambitious shapes to take form. Due to the different chemical structure of these materials the colour can be manipulated to change the visual effects of the material. I found the section on how the strength of carbon nano-tubes will allow architecture to be able to produce even more creative designs quite interesting despite the current failings to make the material work (non-toxic).

Figure 1: Laser cutting in action (above)

Figure 2: Our design of using strings to form surface (below)

Reading applied to design How fabrication process and strategy effected our second skin project.

We used Rhino to model our design over a mesh of a person. Then the pieces we wanted could be transformed to work with a two-dimensional plane for laser cutting. Having a body mesh to work with means that we can model certain pieces such as the shoulder support more accurately, without having to take various measurements in real-life. The ability to laser cut pieces meant that we could trial different lengths and shapes of the pieces as well as different joining mechanisms, centre pieces and methods of connecting the string to the Perspex bones. The ability to model and quickly cut the pieces allowed us to test the different joints and allowed us to experiment with the string order and work out the best and fastest ways of assembling the overall design. We are very fortunate to have tools such as Rhino and Grasshopper which work interchangeably in our project, allowing us to fully visualize how the strings would look from every angle, without having to go through the whole threading process (shown on the right). This not only saved us huge amount of time, but also allowed us to quickly evaluate which design was the most desirable and whether they are achievable in real-life. As we progressed through fabricating basic pieces from simple triangular pieces to more complex pieces with multiple curves, we learnt more and more about the strengths and weaknesses of the tools at our disposal. While instruments such as Laser Cutter can be very flexible, allowing us to cut almost every possible shapes out of perspex, there is also an inherent limitation, which is that, if the curves of the design are too close to each other, the laser beam could possibly melt the region in between.

Reading Response Wk 7 Digital Fabrications: architectural + material techniques/ Lisa Iwamoto. New York: Princeton Architectural Press c2009 We found the shift from Cartesian geometry to describe a surface to curvilinear system quite interesting. This involved how standard geometries can be transformed from (x,y,z) to the vectors U and V to better form and describe new systems. These new and alien geometries have become available for use due to the use of digital design tools, which have a mathematical basis that allows the creation of smooth curves that can cover a desired space. It is fascinating in the reading to see how this use of digital design tools has transformed objects to be weirder in an abstract way but retain the flow and smoothness of design like the Mafoomby, which the inside is smooth and free flowing, but the geometries would be much hard to accomplish by hand. The Perspex pieces of our design were created by curve tools in Rhino, which allowed us to smoothly define their shape, which would have been much harder via conventional means. Like in the reading, these pieces were not our starting point, but developed through the design process as well as their purpose and positions. Following this, we moved our design from more conventional perfectly circular pieces to ones that were non-linear (quadratic or higher basis for their curves). This meant our design was less flat and became blobby and angular. Mafoombey Acoustic Space By Finnish architecture students Martti Kalliala and Esa RuskeepĂ¤Ă¤, with architect, Martin Lukasczyk (2005)

Reading applied to design Implication of digital fabrication on our design, after referencing from lectures and readings. Like the Digital Weave in the reading, our design required exact parts. We needed to cut pieces that fitted the shape we wanted and be easily constructed. Ours differed in that we needed our pieces to be joined in different ways as we explored different forms and impacts on personal space.

How the perspex pieces join together through a pre-specified cut-out.

It is also through the digital design techniques that we were able to fit our indent for the string onto the pieces. These techniques meant we could bend and conform the repeated shape onto the edge of the piece, without flattening the edge to let the indent easily sit on it.

Transition from the old slot design to the new one

The relationship between how the laser cutter works and the Perspex also influenced our design. That we could just cut a line in the Perspex rather than cut off a piece to fit the string meant that we could attach the wire easily and in different ways.

While the old slot design was arguably easier to wire, it does have its a fatal design flaw, which is that the circular cut-outs are too close to each other and therefore the laser-cut job was rejected on arrival, due to the reason that the laser cutterâ&#x20AC;&#x2122;s extremely high-temperature beam would most likely melt the perspex between each slot. Furthermore, this design also has a low density of slots, which would not suffice the requirement we trying to achieve.

The wires were placed in a way so that they interfere with each other to change how the object behind them is viewed from different angles. The use of digital design software allowed us to simulate the connections between the wires, see the body from different angles, and explore different ways of achieving this affect.

The new design originated from a conversation with a technical support tutor who gave the ingenious suggestion of simply using the straight line cut-out from laser-cutter, which would provide just enough room for the white bead strings to fit through, but also greatly improve the density of the strings.

Old Slot Design

New Slot Design

49 (Both measurements are in millimeter.)

Prototype development

Complications arose with the previous prototpye due to the complexity of the individual structures which were made and the scope of what we were trying to achieve. There were concerns about the practicality and aesthetic quality. Previously, we were trying to create a model which would cover the entire upper body. As a result of the complications, we decided to scale down the model to only encompass one side of the body. Materials from the previous prototypes were used first and played around in order to get some inspiration on how to remodel it. We settled on a model which would rest on one shoulder as opposed to resting around the neck We looked back at our first prototype in Module 2 as an inspiration to create an elegant and flowing structure instead of the modular elements of before.

Prototype optimisation

Perspex was used as the main material throughout our project. Our designs always made up off various elements which varied in size but were also all fairly slim in proportions. Thus, we were able to fit all elements plus some extras into one sheet when sending it in for fabrication. At times we pushed the limit by placing elements very close to one another to try to save space and was rejected once as our elements were less than 2mms apart. Spare elements were always created due to how often they would break under preassure. Some uniformity was also acheived with certain elements not just as an aesthetic descision but also a practical solution. Proportions, scale and measurement could be easily resolved among pieces which had certain similarities in their shape and design.

Prototype optimisation

The key element in our model is the usage of strings which span across the entire structure to create an interesting volume which would also serve as the second skin. The bone structure had to also be optimised in order to find out what kind of shape would allow for interesting volumes.Due to this, experimentation with the wiring was a main part of the design process. We experimented with different densities, heights, curvatures and patterns with which to wire. The result is a structure which combines all of these elements. Strings span to and fro from different elevations and planes and some of these sequences are inverted to create a more interesting shape. A few changes to the bone structure was also made to facilitate this. Certain elements which were deemed to have tooâ&#x20AC;&#x2DC;sharpâ&#x20AC;&#x2122; an angle. They were redesigned into a more curvy, long and elegant member. This was done in order as these characteristics would result in a membrane with a more consistent and elegant.

The implementation of such elements was generally sucessful in achieving desired effects and thus, more elements were created to be attached to the structure. These elements varied in shape and size but all shared the same characteristics as stated before. Their implementation was used to help facilitate more complex wiring which would result in a a more interesting volume. Their placement on the existing bone structure was also used to try to cover any gaps or â&#x20AC;&#x2DC;dead endsâ&#x20AC;&#x2122; which were part of the old design.

Prototype optimisation

A key element of what makes our model work is how the bone elements bend in order to form curves. As a result, the thickness of the perspex and the shape of the elements themselves had to be reworked serveral times. The thickness of the perspex was reduced from 3mm to 2mm. While this did result in an increase in the number of broken pieces during the process, the bending effect which was achieved was a greater gain. Certain elements had to be reworked several times as there was always an issue and conflict between aesthetics and stability. Modules were slimmed and rounded out at the start in order to make them less conspicuous and flow better with the structure. However, this resulted in the edges of the elements being very prone to breakage. In the end, we reverted back to a flatter design but still kept the curved slimness. The shoulder piece also went through a similar redesign, with supports added to brace a much thinner structure. They were ultimately removed and changed as the supports werenâ&#x20AC;&#x2122;t useful and the element retains its original volume as it is the main supoorting structure for all elements. 54

The wiring process is the most important part of the model. Thus, the slots in which to facilitate the wiring went through numerous design changes. We started out with three prototype for the slots in our orginal protoype. They consisted of holes, jagged edges and one which combined both. It was decided that jagged edges were not aesthetically pleasing and were very difficult to keep consistent on the model, so hole slots was chosen at this stage. In order to keep the holes less conspicous, they were significantly reduced in size and continued to be reduced as we moved on with the design. The final size was a hole which was 2mm in diameter. This allowed the hole to be small enough that it wonâ&#x20AC;&#x2122;t be easily seen. However, another complication arose. The holesâ&#x20AC;&#x2122; size and its quantity throughout the model made wiring a very tedious task and wires needed to be pulled fully through before we could move on to another hole. To solve this, holes with curved slots were designed to get rid of the need for threading. Strings could be slotted through andhoused in the hole and this would make the wiring process much faster. However, another complication arose. This new design took up much more space and there were less slots than the previous designs.This meant that we had to sacrifice some density in the string membrane. Thankfully a solution was found. Drawing a line on the Rhino template would allow the laser cutter to cut a slot which was just wide enough for a string to fit through. These thin line slots were thus used in the final design and much more slots could be placed on a single element.

2nd Skin Final Design

Our second skin structure aims to give off a non-intimidating feel. The user is able to be seen from a distance due to the translucency of the membrane but as a person comes closer, the membrane can be clearly seen and acts as a barrier against others. The soft curves of both the membrane and the bone structure seemingly blend together and also give a gentle look to not repulse others. However, it is also elongated at the shoulder point to prevent others from touching the user and keeping a distance, be it from the front or back. The structure also serves as a slight view obstructor as eye contact is a big issue with personal space. From certain angles, the user is slightly obstructed from view and others from the user.

Fabrication Sequence

Step 1

Step 2

Step 3

Prepare the laser-cut template, send it to the FABLAB for cutting.

Thoroughly inspect all the parts and ensure that all the pieces are without defects.

Attempt to construct the frame from using bottomup approach. If any pieces break during construction, and there is no additional back-up pieces available, re-evaluate the current design and make improvement/refinement if possible and then start from step one again.

Step 4

Step 5

Step 6

Begin threading by using the white bead strings and strictly follow the pre-designed arrangement from Rhino/Grasshopper.

Conduct quality control, thoroughly investigate whether the strings are tightened well enough, and whether there is still room for improvement. If so, remove current wiring and re-attempt step 4.

Final product is ready for testing.

Assembly Drawing Components Legend

Main Shoulder Frame

Triangular Joint Pieces

Curved Members

Long Curved Members

Sharp Claw Members

Shoulder Support

Additional: 3mm Nut and Bolt for holding the bent pieces in place.

Assembly Instructions

Close-up of nut and bolt mechanism

Step 1 The main shoulder piece is fixed in position. Step 2 The three triangular joint pieces are attached. Step 3 The “curved members” and “long curved members” are carefully attached, with an attempt to minimise any fracture/cracks from developing in the perspex. Step 4 The “curved members” and “long curved members” are bent into their designated position on the main shoulder frame, then the 3mm bolt is used to secure five layers of perspex through the five 3mm holes, and the nut tightens everything in place.

Before Bending After Bending

(Details are shown in photos on the right.) Step 5 Attache the sharp claw members and shoulder support piece.

2nd Skin

3.9 Critical Analysis on Module 9 In this module, our group struggled a lot, but for me this was the most interesting part throughout this semester. We found that although digitalisation in rhino was challenging, producing a physical prototype was totally another story. I would claim that rhino model cannot fully represent a design although it is an efficient tool to visualise ideas. It is because in the softwares, designers tended to be â&#x20AC;&#x153;idealistsâ&#x20AC;?, by which I mean we were usually unable to fully consider all the situations and problems that might occur in real life unless we approach a physical model. On the other hand, something easily achieved in physical model could also be problematic to digitalise in rhino. For example, At the beginning of module 3, we came up with a large hollow-sphere-like form consisted of single triangle profile. However, it was too complex to model it in rhino, and also it was problematic when we try to position this onto the body. Eventually, we had to abandon this idea, but I would be interested to see what would happen if we continued in this direction.

4.0 REFLECTION

4. Critical Analysis on the Whole Project Looking back at all the modules that we went through in this subject, I can see how much progression we have achieved throughout the semester. I have gained a better knowledge of digital design and fabrication, including what steps to take to finalise a design from a digital representation to a physical model, how to choose different digital tools according to the effect we want to achieve, how to use digital tools to assist the design process, what is limitation of these digital tools, and so on. Working with a group was also beneficial to me. There were a lot of times that I stuck in my own ideas, but my group members brought different point of view and helped me out. I mean we have continuously inspired each other. I should say even my layout skill was improved learning from other members. However, it is also a critical process because sometimes we need to comprise and maybe abandon own ambitions and ideas to have an efficient group work. I can see there was a big jump from my initial personal idea of second skin to our final group design. I am curious to see what would happen if my idea could be further developed, but I am still feel really proud of what we have achieved as a group. I should admit that not all the problems were perfectly resolved. For example, it has been criticised that there was a gap between the final digital model and the final design. Actually, there are two parts in the fabrication process. The first one is the digital fabrication, and we took full advantage of laser-cutting. It has been a process of moving back and forth, for instance, we sent approximately 6 profiles to the Fab Lab just for the optimisation of joint. The second stage is the manual fabrication when we had to wire the skin system by hand. It was the most challenging part because every string we wired would deformed the bone system, and thus the strings we wire first would became floppy over the time. We tried several times to rewire it, but we found it was still really hard to keep all the strings taut since the deformation was unavoidable. Maybe in the future, I can further improve this.

5.0 APPENDIX

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5.2 Bibliography Sommer, R. (1969). Personal space : the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J. : Prentice-Hall, c1969. Scheurer, F. and Stehling, H. _2011_: Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 _4_, July, pp. 70-79 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 Iwamoto, L., 2009, Digital fabrications: architectural and material techniques, Princeton Architectural Press, New York Kolarevic, B., 2003, Architecture in the digital age -design and manufacturing, Spon Press, London