Amani Eljari 757362 Module 4

DIGITAL DESIGN + FABRICATION SM1, 2017 SUBCONSCIOUS PERCEPTION

AMANI ELJARI

757362 MATTHEW GREENWOOD TUTORIAL 4 (MSD 236) GROUP 4E

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CONTENTS: 0. INTRODUCTION..........................................................................................................................7 1. IDEATION.......................................................................................................................................8 2. DESIGN...........................................................................................................................................18 3. FABRICATION................................................................................................................................28 4. REFLECTION.................................................................................................................................58 5. APPENDIX......................................................................................................................................60

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0. INTRODUCTION

The material system that we explored was profile and section. We did this through the deconstruction and analysis of a moosehead structure, which then lead to the development of our design. We pushed the limits of the orderly waffle-like structure to create a design that uniquely showcased the material system.

This brought us to Subconscious Perception, a piece that progressed greatly over the course of the semester but neverless kept the same qualities. It is so named due to the movement of light through the piece, changing the way it is perceived. The lighting changes at different viewpoints, suggesting the subconscious feeling of personal space by the model.

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1. IDEATION Early designs were formulated by exploring the material system and creating a series of prototypes based off the original object; the moosehead. We aimed to uncover the rules of the system and how we could push its boundaries.

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MEASUREMENT AND DRAWINGS To physically measure the moose head, I scanned the constructed object to make it a flat, easily measured image. I used Photoshop to alter the brightness of the scans so they were easily readable and I ensured that they were correctly scaled. I then checked the dimensions I had found against the physical model.

Through disassembling the model into smaller pieces, I could also get more accurate dimensions. I purchased two mooseheads so that I could keep one whole for reference and the other I deconstructed to make sense of it’s structure and how the material works in the system.

SCANS OF OBJECT HELPED ME TO ACCURATELY MEASURE IT.

THROUGH DISASSEMBLING THE MODEL INTO SMALLER PIECES, I COULD BETTER UNDERSTAND HOW THE PIECES WORKED TOGETHER.

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MEASURED DRAWINGS This set of Plan, Section, and Elevations accurately show the physical structure and proportions of the moosehead object.

235mm

307mm

PLAN 1:2

SECTION 1:2

285mm

235mm

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307mm

FRONT ELEVATION

SIDE ELEVATION 1:2

1:2

285mm

235mm

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DIGITAL MODEL Reconstruction of the moosehead using Rhino.

ISOMETRIC

PLAN

ELEVATION

To create the digital model on Rhino, I used the assembly instructions that came with the object that showed all the pieces flat laid. I traced curves over the top of these and then extruded them to the proper thickness and scaled them to the right size. Once this was done I had all the pieces I needed to make the moosehead and I simply constructed them together in the same way that I did the physical model.

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SYSTEM ANALYSIS Understanding the way in which the material system works.

Two-dimensional pieces of varying size and form are used to create the three-dimensional moose head. When used together, these flat pieces create a form that can efficiently stand on its own.

Each piece of wood slots into the gap of another piece. By the wood travelling in two directions, the whole structure is stabilised and is given strength that the individual pieces lack on their own.

The components of the moose head form both a primary and secondary structure. The vertical pieces stand freely on their own from the base whereas and horizontal pieces must slot into these and then proceed to add strength and stability Horizontal and vertical pieces slot into each other to

to the object. The figure on the right depicts the grid-like form

create a grid-like pattern.

that is created.

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VOLUME: SKETCH MODEL By mimicking the same system of profile and section, I wanted to explore the different ways that I could manipulate the system away from such a uniform grid. For this to happen I had to try to stray from the straight up/down and left/right connections; I wanted it to be a more fluid, organic form.

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A challenge that I faced was creating height in the model. Due to the stiff nature of the material that I

used, it was difficult to stray from a simple

horizontal and vertical object. This could be

overcome by using a more

flexible material perhaps.

SKETCH DESIGN 1 CLOSED

PRIVATE

PROTECTIVE

This design is a protective barrier for someone who is quite shy and closed off to other human interaction. It would work well with wood as it is nontranslucent and a strong material that could efficiently create this barrier.

SIDE VIEW

A protective layer that mimics the invisible boundaries of the wearer.

Aimed towards a very private, introverted person who does not wish to interact with strangers while also keeping distance from people they know. The pieces flare out in all directions although are longer around the front where the most space is desired.

FRONT VIEW

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SKETCH DESIGN 2 BARRIER

SHIELD

DEFENSIVE

SHARP

This is a very defensive structure with the long, pointed edges that almost threaten anyone from intruding into the personal space.

It protrudes further around the torso than around the shoulders based on different ideas of personal space amongst different persons.

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SKETCH DESIGN 3 FLUID

OPEN

WELCOMING

A translucent material like a plastic is suitable for this model as it mirrors the openness and inviting nature of the structure.

The structure is very welcoming with the outwards curved ‘arms’ that can be compared to arms open for an embrace. It is quite softly curved and fluid as opposed to being closed off and stiff.

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2. DESIGN

I worked on the design with Alice Fowler to develop the idea of a second skin and its relation to personal space. Building upon the concepts we formulated in Module 1, we began to grow the design and and heighten the overall effect of the project. During the design process we explored many different idea paths before narrowing it down and focusing on one that best fit the brief.

Module by Amani Eljari (757362) and Alice Fowler (834606).

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DESIGN DEVELOPMENT

Moving forward in our design we focussed on my own sketch design #3 and Alice’s sketch design #2, whose properties we believed were most relevant to the concept of personal space.

My design was fluid, open, and welcoming and mimicked outstretched arms preparing for an embrace. The focus on the upper body is due to the fact that that area changes most in different situations to react to personal space. The lack of sharp edges or forms, in lieu of softer curves and blunt edges is important as our personal space bubble is ever-changing in different situations and environments, and this is portrayed by the design’s fluidity.

Similarly, Alice’s design shows different orbits or levels of personal space, once again depicting its ever-

AMANI’S SKETCH DESIGN #3

ALICE’S SKETCH DESIGN #2

changing nature at different comfort levels. Again the curves instead of harsh edges show the fluidity in the design.

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MEASURING PERSONAL SPACE

I used sketches and later Adobe Illustrator to explore the figurative personal space bubble that surrounds us. We imagined our model as female as both Alice and I could relate to the way that we feel about our own personal space.

We both agreed that the bubble would protrude further from the body at the front around the head and upper torso. These are the areas that we feel most sensitive to human contact. Sommer (1969) stated in his text on Personal Space that it is an area with invisible boundaries that intruders may not come. He emphasised that it does not necessarily spread equally in all directions, hence why my diagrams are quite irregular, although keeping in the general boundary.

Our second skin will act as a barrier around the vulnerable areas of the human body, and we will distort this to show the irregularity and everchanging nature of the personal space bubble.

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DIGITALISATION + DESIGN PROPOSAL V.1

PLAN

ISOMETRIC

FRONT ELEVATION

This design proposal aims to use the vertical elements of the structure as an exaggerated form of the human body. Each piece was first a curve traced along the body at different angles, and then made into a solid shape and positioned at the appropriate spot.

INSECT SHEDDING ITS EXOSKELETON.

We believe this idea signifies the boundaries of personal space and how different parts of the body are more or less protected. The face and upper body are focused on because we found that when sketching a personal space map these areas needed the most space. As the design progresses however we would like to further explore how we can distort the shape around the body rather than keeping it quite uniform around her shape.

PIECE FROM NOT JUST A LABEL

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PRECEDENT RESEARCH C-SPACE PAVILION BY ALAN DEMPSY AND ALVIN HUANG CURVING

TRANSFORMATIVE

DISCONTINUING YET EVOLVING

MYSTERIOUS

The C-Space pavilion was designed in response to a competition to design a freestanding, temporary pavilion to be built in front of the Architectural Association School In London. It is built using glass fibrereinforced concrete panelling, Fibre-C. The waffle structure system is used to create a structurally strong freestanding form. Additionally the positioning of the interlocking panels create a sense of movement through the differing opacities as you walk around the structure, achieved through the use of different angles and distances between the panels.

The rounded form relates and reflects the curving nature of our personal space, which is often referred to as a personal ‘bubble’. When we represent our personal space it is often using circular hand motions.

There is a sense of transition in the pavilion through the deceiving movement that the layering panels create. From certain angles the form appears to be opaque where as at other angles the form is partly transparent, creating mystery as at some angles you cannot see through the form leaving you to wonder what is inside, and others only give you a taunting glimpse. Within the structure of the pavilion some of the concrete panels are broken with clear cuts, leaving gaps. However the panels remain in line giving the illusion from far away that they are continuing and evolving lines. This represents punctures in ones personal space when it is either invaded or voluntarily broken.

EXPLORATION OF DISCONTINUING PANELS

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EXPLORATION OF CURVING FORMS

DESIGN PROPOSAL V.2 Version 1

This design consists of an inner and outer layer that are used to represent the very literal shape of the body and the shape of the personal space bubble respectively.

The curved nature of the model is shown through its rounded form around and away from the body. We associated the

INNER LAYER HORIZONTAL PIECES

INNER LAYER VERTICAL PIECES

OUTER LAYER HORIZONTAL PIECES

OUTER LAYER VERTICAL PIECES

rounded form with the way in which we often use circular hand movements when explaining our own personal space.

It is transformative in the way that it is completely open when viewed from the front, however from the side it is very closed and defensive; you cannot see through. This then creates mystery of what lies behind the barrier.

ISOMETRIC RENDER

The discontinuation of some pieces of the model also add to the mystery; it represents punctures in one’s personal space where people may have intruded.

The non-conforming shape of the outer layer is like this to represent how personal space is different for different areas of the body and is constantly changing, so cannot be restrained to the human shape.

PLAN

SIDE ELEVATION

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DESIGN PROPOSAL V.2 Version 2

FRONT ELEVATION

RIGHT ELEVATION

ISOMETRIC

PLAN

This design also explores the idea of an inner and outer layer that are used to represent the shape of the body and the shape of the personal space bubble respectively. Our previous 2nd skin proposed design has evolved into this by taking into account the characteristics of the precedent study and further evaluation of what personal space means to us. This design uses a more organic curving form for the outer layer. The organic form creates a sense of movement and mimics the everchanging personal space bubble, as well as relating to the curved nature of the precedent. The holes in the outer layer represent breaks/punctures in ones personal space, and create mystery through taunting the viewer with a clearer glimps into the inner layer, this can be related to the concept of getting to know someone and revealing more about yourself as you feel more comfortable.

The inner and outer layer are two different waffle structures. The inner layer pieces have a continuous thickness. whereas the outer layer pieces vary in thickness, making them more organic shapes.

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INNER AND OUTER LAYERS

PROTOTYPES - CRAFTS AND DIGITAL

The images to the left are paper protoypes that explore the interlocking system of a waffle, and the curving nature of the panels. Figures 1 and 2 explore the outer layer for the head piece and the ways the panels can interlock. Figures 3 and 4 focus on the outer body piece and how the form reflects our personal space diagram.

We decided to laser cut the inner head piece as a 1:1 prototype as it clearly shows how the pieces will interlock and create a form that is reflective of a head. The prototype clearly shows the front on grid form and how the model can transform from a transparent structure to a more opaque one.

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TESTING EFFECTS The over lapping waffle grids transform from transparent to opaque through the movement of the structure and angle of the viewer.

Skelett-Kleid Von Iris Van Herpen shows the type of material we want to use; one that is opaque, glossy and either allows light to travel through it or is covered in glow-in-the-dark paint.

To add to the transformative effect of our design we envision making our structure from polypropylene, and coating the inner layer with glow-in-the-dark paint to represent the inner person projecting themselves in their personal space and beyond. We would also like to explore different opacities of polyproylene to further the idea of letting people in and blocking people out. An alternative to polypropylene that we will possibly try is POLYPROPYLENE

clouded perspex, which would hold its shape alot better.

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SKELETT-KLEID VON IRIS VAN HERPEN

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3. FABRICATION During this module, Alice Fowler and I trialled different fabrication methods and designs to arrive at the desired outcome. Our design was refined through prototypes, which we did digitally and through physical prototypes.

Module by Amani Eljari (757362) and Alice Fowler (834606).

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SECOND SKIN: SUBCONSCIOUS PERCEPTION Our proposal for the Second Skin covers the upper half of the body with both an inner and an outer layer. The inner layer mimicks the shape of the body exactly and is a very literal representation. The outer layer on the other hand is emblematic of the personal space bubble. It is distorted in such a way as to demonstrate the irregularity and everchanging nature of the concept of personal space.

Our concept aims to also have a lighting effect through the use of an LED strip or glow-in-thedark paint, which can show the changes in the bubble. With the LED’s there is a dimmer so the light will become brighter when there is an intruder into the bubble. The light is carried really well through the clouded perspex, which makes it appear to be emanating from the person’s inner self.

PERSONAL SPACE BUBBLE SHAPE

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EVOLUTION FROM MODULE 2

We decided to draw off the 2nd design version that we did in Module 2 as it is more organic and fluid. Additionally it draws from the precedent, C-Square Pavillion, through its curvature, gaps, and transformative nature. We are keeping these features moving forward in the design; the curvature represents the changing nature of our bubble and the seemingly random gaps show the breaks in the bubble where the bubble is momentarily broken. The problem with the original design however is it’s constructability; it is a very large structure and therefore very heavy. This is not only a problem for the wearer but it may also jeopardise the structural integrity of the material used.

To progress with the design we had to create a new base shape for the outer layer, as shown below, and refine the position of gaps and material choice.

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Over the course of the module we used a laser cutter to create numerous different prototypes of our design, often just focussing on a specific section of the design. Due to the size and density of material that our design entailed, it was not feasible to do more than two full prototypes; instead we did many smaller ones of certain sections and one of the whole structure scaled down by 2. This did eventually lead to problems for us as the smaller prototype could not forecast the weight of the final snapping many of the perspex members.

This consequently lead to a last minute change in material from perspex to polypropylene. The sequence of our prototypes and design decisions are documented in the following pages.

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DESIGN DEVELOPMENT AND FABRICATION OF PROTOTYPE 1

After receiving feedback on our design during Module 2, we knew the areas that we had to focus on in order to succeed in creating the Second Skin. We re-evaluated our concept of personal space and distorted it in the way that can be seen in the elevations and isometrics on the next page. Our model relates to personal space as it acts as a protective barrier that indicates where the bubble surrounds

PLAN

the body and when it is punctured.

Another aspect of the design we had to finalise was whether we would use perspex or polypropylene for the outer layer; we weighed up the strengths and limitations of both materials. Both have similar appearance in regards to the way they carry light through the material. However perspex is thicker and very rigid as opposed to the thin, flexible polypropylene, which may cause a movement effect.

Lastly, we had to test spacing in the design. Spacing is one of the most important aspects of our design; it represents the punctures in the personal space bubble by an intruder. We have interpreted this idea from our precedent study, the C-Space Pavillion. Initially our model had exactly uniform spacing, which did not create any mystery or irregularity. We merely created gaps by cutting out parts of the structure, which was far too random. In progressing with the design we have instead changed the spacing before sectionning the form in Rhino. This creates higher densities in the parts of the model more sensitive to personal space, enhancing the mystery and appeal.

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LEFT ELEVATION

FRONT ELEVATION

NORTH-WEST ISOMETRIC

SOUTH-EAST ISOMETRIC

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DESIGN DEVELOPMENT AND FABRICATION OF PROTOTYPE 2

LIGHT THROUGH SANDED PERSPEX

CONNECTION BETWEEN MDF AND PERSPEX PROTOTYPE

CLEAR PERSPEX OUTER LAYER CLOSE-UP

With the aid of digital fabrication we were able to make prototypes every time we changed part of the design; this was extremely beneficial as it is hard to know exactly if a section works unless there is a physical prototype.

An aspect of the design that we needed to alter was the slot size; they were originally 2.9mm thick but we found this extremely difficult to assemble and led to the cracking or breaking of many pieces. The gaps were therefore changed to 3mm and this very slight change made all the difference; breakages were kept to a minimum and the added distance did not affect the structural capability.

We also started to think about effect, which we decided would be lighting. Now that the spacing LIGHT THROUGH CLEAR PERSPEX

created different densities in areas of the model, light could travel through the model in different

ways than initially considered. This made some parts more illuminated and ‘densely lit’ than others. The clear perspex showed the LED globes quite clearly however, which was not the glowing effect we anticipated. Therefore we decided to opt for clouded perspex, however due to its high expense we used sandpaper to make the clear perspex into clouded perspex, as shown above. This gave the desired ominous glow effect and made the light appear to illuminate from the model’s inner persona.

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HALF-SIZE PROTOTYPE CONNECTION BETWEEN INNER AND OUTER LAYERS

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FINAL PROTOTYPE DEVELOPMENT AND OPTIMISATION

SECTIONING TEMPLATE

The previous designs have little variation in spacing, they are uniform and equal. This is contradictory to both our precedent study (The C-Space Pavillion) and the concept of personal space that we aim to convey. One of the properties of the C-Space Pavillion that we wanted to incorporate was it’s in part random spacing where sudden gaps could provide a glimpse inside. This relates well to the idea of personal space as it depicts the often momentary lapse in a person’s protective ‘personal space’ layer and allows an intruder to see in.

To explore spacing we made various digital models by using grids like the one on the right, which were then used to section the outer layer. Through extensive trialling we arrived at a model that portrayed this concept perfectly; it is denser around the front were more personal space is required and thin on the sides to allow more sight and light through.

Another aspect we modified is the size. Due to our material choice the model would have been very heavy and very expensive; so we made it smaller, focusing on the areas where the most space is needed.

M2 DESIGN OF OUTER LAYER.

ORIGINAL SPACING OF OUTER LAYER. FINAL SPACING OF OUTER LAYER.

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We used lighting in order to add a visual evocation to our model. This was in unison with the remodelling of the outer layer, which created different densities in different areas of the model. Brightness and colour is controlled

LIGHT THROUGH PARTIALLY SANDED PERSPEX

with a remote.

We have chosen to use clouded perspex to build our outer layer as it causes an ominous glow through the material. Clear perspex simply does not give the same effect as it does not carry the light but rather plainly shows each individual LED globe in plain sight. The images to the right demonstrate the ability of the clouded perspex as opposed to clear. Varied spacing and width of the pieces create changing opacities depending on the angle at which you view the structure. These changing opacities mimic the changing nature of ones personal space, at times people are more open and susceptable to letting people in.

Our concept here is that the light is quite dull and neutral until someone comes into the wearer’s personal space bubble. When this happens the light becomes really bright, as controlled by the other group member,

LIGHT THROUGH SANDED PERSPEX

representative of ones perceptability to the presence of others.

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SANDED PERSPEX IN FRONT OF LIGHTS + HEAD

Subconscious Perception consists of both medium density fibreboard (MDF) and perspex.

The MDF is being used for the inside layer, which sits directly on the body. We chose to use MDF because of it’s material properties of strength and stiffness. Ofcourse perspex shares these features and based on this reason alone we could have made the entire project out of a single material, however we did not do this based on costeffectiveness and the fact that it is to be spray painted black anyway.

The reason for the black inner layer is partially aesthetic since the laser

PERSPEX PRIOR TO SANDING.

burn marks on the timber is not appealing, but is also so it will blend with the clothes of the model. With an inconspicuous inner layer, the main attention is drawn to the way the structure adheres to the concept of personal space, with the control of light through the perspex.

The outer layer is designed in clouded perspex. We initially trialled clear perspex so that the lighting effect would glow through. However upon testing it we found that the light was too harsh and we did not get the

SANDED PERSPEX PROTOTYPE.

glow we had imagined. We then turned to clouded perspex, however the pricing was significantly more than the clear. We decided to try sanding the perspex, which fortunately gave a very similar effect to that of the clouded perspex. It was more work, but necessary to the emotional effect of the model. As a result we could achieve that glow that represents the wearer’s inner persona and their interaction’s with others in social situations.

BLACK MDF INNER HEAD PIECE.

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INNER LAYER

INNER AND OUTER LAYERS

INNER AND OUTER LAYERS WITH LIGHTING

We chose to connect the vertical members from the inner and outer layer in order to hold up the outer layer. The vertical members were chosen as the material proved to be stronger facing vertically as opposed to lying flat due to the orientation of the cross section.

Creating discontinuing pieces, reduced the size of our pieces, which resulted in less breakage and more efficient use of materials. Having smaller pieces means the pieces do not have to span over multiple slots creating less tension and chance of breakage. The smaller pieces are easier to position closely together when laying out the FabLab cutting file, meaning more pieces can fit on each sheet, reducing the number of required sheets. Another change that we made to enhance the structural capability of the model was to increase the width of the pieces. Not only did this reduce the possibility of breakage, it acts as a overhang where we can attach the lights for effect.

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FINAL FORM OF OUTER LAYER (WIREFRAME)

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LABELLING THE PIECES Each piece has a letter, either H or V, to indicate whether the piece sits horizontally or vertically in the structure. This letter is followed by a number indicating the positioning of the piece, piece V1 being the top most vertical piece and H1 being the left most horizontal piece.

In cases where there are multiple pieces sitting at the same level the pieces were labelled in a clockwise direction as the numbers go up.

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We had to be mindful of materials when creating our FabLab cutting files. As seen on one of the files, to the right, we aimed to fit as many pieces as possible onto the one sheet. Perspex, even moreso than MDF, is expensive to buy and so we did this to save on costs.

Selective use of resources is also important so as to reduce wastage, the uncut pieces of the materials are disposed of as they cannot be used for anything else. In a day and age where resources may be limited, we believe this is extremely important. Also to reduce the damage to the environment through the manufacture and transport of these materials, which are then simply FABLAB CUTTING FILE.

disgarded. We wanted to limit the amount of waste we produced.

This did make it harder and more time consuming for us; both assembling the document, and in fabrication when finding the right pieces was tricky.

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READING RESPONSE WEEK 6 Architecture in the Digital Age - Design + Manufacturing/ Branko Kolarevic, Spon Press, London c. 2003.

In the modern world building projects are realised digitally, drastically evolving the relationship between concept and production. Through knowing the capabilities and availability of equipment and material, architects can now design more specifically. This shift implies that the computability of a design now dictates the constructability.

LAYERING - ADDITIVE FABRICATION.

Various digital fabrication processes include:

Two dimensional fabrication: involves two-axis motion of sheet material relative to the cutting head

where by either one or the other or both are moved. Examples of this method are plasma-arc, laser

beam, and water-jet technologies.

Subtractive fabrication: this is the removal of a specified volume of a material from solids using

electro-, chemically-, or mechanically reductive processes. An example of this method is CNC

milling.

Additive fabrication: involves incremental forming by adding a material in a layer-by-layer

sequence. For this to be achieved, the digital model must be sliced into two-dimensional layers first.

This can be done with similar technologies as two-dimensinal fabrication.

FLAT CONNECTING PIECES OF OUR MODEL.

Formative fabrication: uses mechanical forces, restricting forms, or heat, which is applied to a material to form it in the desired shape. This can permanently disfigure a material.

In our design we have used a laser cutter to create each of our pieces, which are then manually joined together to make the section and profile model. Digital fabrication has made the process of prototyping a lot easier as it allowed us to easily correct mistakes and advance our model.

STRUCTURAL FRAMEWORK FOR BERNHARD FRANKEN’S

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‘BUBBLE’ BMW PAVILLION.

READING APPLIED TO DESIGN

Laser cutting uses a high intensity focused beam of infrared light in combination with a jet of highly pressurised carbon dioxide to melt or burn the material.

We are using MDF for the inner layer and Perspex for the outer layer; in terms of the MDF the laser will burn the material, whereas with the Perspex it will melt it.

Laser cutting can only cut materials that absorb light energy, which our materials do. They also are limited to sheet materials with a thickness up to 16mm, which is also within the limits of our model. Water-jets on the other hand, can cut anything and at greater thicknesses.

We chose to laser cut our pieces because of its precision, accessibility, and cost-effectiveness. Precision was important as there are so many pieces and the way they fit together must be perfect for it to be successful. Manually fittng the pieces together once they were laser cut was very time consuming but it was made easier by proper labelling and precision of pieces.

PRELIMINARY SKETCH OF OUTER LAYER.

RHINO SKETCH OF OUTER LAYER.

PROTOTYPE OF OUTER LAYER.

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READING RESPONSE WEEK 7 Digital Fabrications: architectural + material techniques/Lisa Iwamoto. New York: Princeton Architectural Press c. 2009.

Digital fabrication and material techniques calibrate between a virtual model and a physical model. The relatively recent shift from hand-drawing to digital has both limitations and benefits, although as a whole it sparks more possibilities by narrowing the gap between virtual and reality.

Digital modelling made experimenting with fabrication techniques easier; it streamlines the production process. 3D computer modelling, as opposed to 2D, and digital fabrication really pushed the boundaries of design and construction. It is now more effortless than ever to create prototypes and upon realising the flaws merely changing it digitally, saving time.

For design efficiency, the capabilities of the machines being used must be understood by the designer; they must be able to marry design intent with machine capability. Michael Speaks describes this as ‘design intelligence’ while linking thinking and doing, design and fabrication, and prototype and final design. Thus demonstrating how digital modelling and fabrication

HOUSE ON A TERMINAL LINE, PRESTON SCOTT COHEN, 1997.

blurs the virtual and physical in a streamlined production process.

House on a Terminal Line was a laser cut waffle structure, similar to our model. It conceptually unites the ground and house by taking the intersection of the horizontal and vertical members in the digital model.

Similarly, waffling was used for the Loewy Bookshop, creating that grid-like form. The benefit of digital fabrication in these instances is it’s ability to create such precise intersections of sections to create the finished whole.

CUTTING SECTIONS, CONTOUR COMMAND, RHINO.

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LOEWY BOOKSHOP, JAKOB + MACFARLANE, PARIS, 2001.

READING APPLIED TO DESIGN The implication of using digital fabrication to create our model was that it enabled us to generate many prototypes with quick and ease. With the limited time frame we would not have been able to reach the same level of finesse without the aid of digital modelling and fabrication.

Digital modelling also enabled us to better understand our model as it is quite complex.

Our model consists of an inner and an outer layer, and each of these layers has a myriad of pieces, Rhino was necessary in order to perfect the aesthetics and constructability of these pieces.

Iwamoto highlights that through digital modelling you can be both economical by making lightweight structures and excel with accuracy. Our initial curved surface that resembled our personal space diagram could be unravelled into flat pieces. By turning a flat surface

IN THIS SPACE INCLUDE SKETCHES + DIAGRAMS + IMAGES THAT SUPPORT YOUR RESPONSE

into a 3D one, the object gains rigidity and stiffness and becomes self-supporting. It is also practical to help us scale the model to fit correctly.

In today’s society a designer cannot get by without knowing how to operate digital modelling programs. Although studies state that advances are moving too fast for people to keep up (National Research Council, 1999), we believe that these programs are invaluable assets to a designer’s skill set. These researchers fear that designing through these programs may lead to lack of awareness of basic constructability concerns. Digital fabrication advances have ultimately resulted in a new era of innovation and enhancement of modern architecture.

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2nd SKIN FINAL DESIGN

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NORTH EAST ISOMETRIC

NORTH WEST ISOMETRIC

SOUTH EAST ELEVATION

SOUTH WEST ELEVATION

FRONT ELEVATION

BACK ELEVATION

LEFT ELEVATION

RIGHT ELEVATION

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Through strenuous prototype optimisation we arrived at the final design; one that we believe impeccably showcases the concept of personal space while making efficient use of materials.

PLAN

As shown below the final consists of both MDF and polypropylene; the MDF acting as support and the polpropylene as aesthetic interest.

MDF SECTION

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POLYPROPYLENE SECTION

FABRICATION SEQUENCE

LASER CUT ALL PIECES.

SANDED PERSPEX.

FITTING CONNECTING AND HORIZONTAL MEMBERS.

FIXED ANY CRACKED PIECES.

CONNECTING HEAD OUTER LAYER.

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ASSEMBLY

MDF

POLYPROPYLENE

Instructions: MDF

1. Join the horizontal and vertical MDF members.

2. Slot in the polypropylene pieces to this framework, following the labelling.

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4. REFLECTION

After completion of the Second Skin design I have had time to reflect on the design process and my experience over the course of the semester.

I contemplate what I have learnt, the aspects of the course I found challenging, how our design could have been improved, and the places things may have gone wrong or well.

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I found this subject particularly exciting in comparison to many design subjects I have done in the past. The fact that we start with such a simple object and develop it all the way to our Second Skin final design was such a rewarding experience.

Starting the subject, I had never used Rhino before and I was a bit hesistant around digital modelling as it always seemed so difficult to master. After a few lessons in using Rhino I was so thrilled at my new proficiency with the program, which I can now take into further study and work. ‘The future is digital in nature’ (Rifkin, 2011); an understanding of architectural computer programs is an essential asset to any designer and I will only aim to keep growing my skills.

Apart from the digital aspect, the subject has also taught me a more general lesson – do not over complicate your design. That was our downfall during Module 3; the digital model looked great, but I now know the importance of constructability. I did find creating a model that was easily constructable challenging.

While digital modelling and sketching our design I was often carried away with unachievable ideas. As we started prototyping I then learnt how to refine the model and make it something buildable. Despite it causing problems for us later in the module, I’m glad that Alice and I were not limited by the thought of how we would actually construct the model. Instead we generated astounding, intelligent, and compelling design ideas that did not have any boundaries.

If we had more time, I would have liked to improve our design by incorporating more of the initial concept of the inner and outer layer with the polypropylene.

I found that as we had a late change of material some of the concept that we were trying to portray about personal space was lost in an effort to make a design that was buildable. With more full sized prototypes earlier on we could have avoided this and improved our design. However since our design was so large and dense, excessive prototyping was just not feasible in terms of time and expenses.

I found section and profile as a material system to be quite hard to work with. Nevertheless the challenge paid off and I am extremely happy and proud of what I have achieved over the semester. I have enjoyed the way that this subject has linked design and production; commonly these days they are kept separate. I have enhanced both my skills of design and production through imagination and technique (Marble, 2008).

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5.0 APPENDIX

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BIBLIOGRAPHY Being Fluent With Information Technology/National Research Council. The National Academies Press, 1999.

Digital Fabrications: architectural + material techniques/Lisa Iwamoto. New York: Princeton Architectural Press c. 2009.

Fairs, M 2007, [C]Space Pavillion by Alan Dempsey and Alvin Huang, viewed 1st April 2017, < https://www.dezeen.com/2007/11/04/cspacepavilion-by-alan-dempsey-and-alvin-huang/> Kolarevic, B. 2003. Architecture in the Digital Age - Design and Manufacturing/Branko Kolarevic. Spon Press, London Marble, S. 2008. Building the Future: Recasting Labor in Architecture/Philip Bernstein, Peggy Deamer. Princeton Architectural Press, pp. 38 - 42 Rifkin, J. 2011. The Third Industrial Revolution, Palgrave Macmillan, pp. 107 - 126 Sommer, R. 1969. Personal Space: the behavioural basis of design/Robert Sommer. Englewood Cliffs, N. J.: Prentice-Hall, c. 1969

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