DIGITAL DESIGN + FABRICATION SEMESTER 1, 2015
REFLECTION Amber Barton, 699287 Michelle James Tutorial 06
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CONTENTS
Introduction 5 1.0 Ideation 6
1.1 Object 7 1.2 System Analysis 9 1.3 Volume 10 1.4 Sketch Designs 11 1.5 Refined Sketch Design 12 1.6 Critical Analysis 13
2.0 Design 14
2.1 Design Development 15 2.2 Design Inspiration 16 2.3 Design Proposal V1. 17 2.4 Precedent Study 19 2.5 Design Proposal V2. 23 2.6 Design Proposal V3. 24 2.6 Prototyping 26 2.7 Critical Analysis 30
3.0 Fabrication 31
3.1 Prototyping 32 3.2 Precedent Study 33 3.3 Reading Study 34 3.4 Sketch Design 36 3.5 Modelling Design 37 3.6 Prototyping 38 3.7 Materiality 39 3.8 Steps in Digitization 40 3.9 Final Digital Model 44 3.10 Fabrication Sequence 46 3.11 Assembly Drawing 47 3.12 Completed Second Skin 49 3.13 Critical Analysis 53
4.0 Reflection 54 Appendix 56
Credit 57 Bibliography 58
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INTRODUCTION Second Skin Brief:
The brief calls for innovative design of a second skin; a wearable volume or surface that accomodates the body. The second skin will explore, measure, and/or negotiate the boundary of personal space.
Design Response:
Our design defines the internal and external limits of personal space, making these usually invisible boundaries visible. This was done through the fabrication of a physically wearable form, which encases the personal space sensitive area of the head. Our design gives spatial quanitity to the outer area of ‘desired everyday personal space’. Inside the layers of contoured sections is an ‘intimate personalised negative space’, in which only the wearer may inhabit. Our design’s overall effect is to articulate the fluidity of personal space, and incorporate transparency and the play of light as a allusion to the idea of ones internal flame.
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1.0 IDEATION
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1.1 Object: The Egg Cutter
The Egg Cutter was the selected inspirational object for the design, leading to explorations within the material system of profile and section.
84mm
Plan 1:1 33mm
210mm
Section 1:1
Elevation 1:1
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1.1 Object: The Egg Cutter
In order to understand the egg cutter the practice of creating measured drawings was undertaken. Inspiration was drawn from the week 1 reading, which suggests that use of photography and drawing allows one to observe every detail, and consequently better understand the driving principals of the designer (Heath, Heath, & Jensen). The plan and elevation drawings were measured by initially taking a scan of the egg cutter, then printing a photocopy at 1:1 scale, and then tracing the photocopy. Low (pers. comm., March 2, 2015) introduced this method in the week 1 lecture. A more inventive approach had to be taken for the section drawing. This involved using trace paper to dot out key elements from the plan, followed by extrapolation of height by using a ruler inside the sections of the egg cutter. Once the set of measured drawings were created this allowed for a scaled rhino model to be created with the drawings as background bitmate guides. Cheng (2008) was used as a reference for specific comands.
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1.2 System Analysis Movement
The function of the egg cutter is allowed through its movement. The elevation drawing below shows the one direction swing of the hinge. It is restricted to 180 degrees of movement. The hinge may be disconected into its respective base and armature, as show in the image to the right. This idea of a hinge was interpreted as a rotational focus leading to the use of polar arrayed elements within the design. The mechanics of the hinge also inspired research into notch joints.
Function
These section drawing shows the function of the egg cutter. The 8 wires attached to the hinge supply the mechanism to cut the egg into 9 sections. The tension wires slide between lengths of the cast plastic base. The idea of volume is created by the negative space which is reserved for the egg to sit within in order to be cut. This idea of parallel sections is further extrapolated through contouring within the design. The curvature of the negative space of the egg cutter, provided inspiration for the creation of a personlised area of internal negative space.
33mm
112mm
84mm 210mm
Elevation
Section
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1.3 Volume
The reconfigured material system begins to create a solidity using parallel planes of card. The curvature of the card is derived from the shape of an egg and slotted onto the wires to create a symetrical negative space. The main ideas to be drawn from the model is the notching method of jointing and the creation of negative space.
1.4 Sketch Designs Direction - Paths - Curvature - Extension - Contrast
Planes - Intersection - Angles - Joints - Cluster
Planes - Movement - Separation - Fold - Angles
1.5 Refined Sketch Design
The three previous sketch designs had a focus on the material logic of connecting planes and use of irregularity. However they lacked a unifying idea of personal space. Sommer (1969) suggests that personal space is not neccissarily spherical in shape, nor does it extend equally in all directions. Instead personal space refers to the invisible boundaries surrounding a person’s body into which intruders may not enter. From this reading a refined sketch design was created with the aim of visualising the usually invisible boundaries of intimate personal space and general personal space. It was decided that personal space should be focused around the head and towards the front.
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Front
Side
Internal Details
1.6 Critical Analysis
The concept of a material system was first introduced within the M1 lectures as a way of describing a complex system of parts using materials (Low, pers. comm. March 2, 2015). It was suggested that profile and section creates a rhythmic and lively surface, best explored through contouring (Low, pers. comm. March 9, 2015). The example of the Banq Restuarant, Studio DA, 2009 was suggested as a precedent due to its use of curvature and contouring (Low, pers. comm., March 2, 2015). The next step in the ideation process was the analysis of the profile and section object of the egg cutter. Lending from ideas of the readings measured drawings, followed by rhino modeling, were used to observe the making concepts of the egg cutter. The reconfigured object was introduced in lecture 2 as a way to transform the material system into a volume (Low, pers. comm., March 9, 2015). At the conclusion of the Ideation process preliminary sketch designs were created from the concepts explored in the week 2 reading surround the invisible boundaries of personal space (Sommer, 1969). These sketch designs were the most beneficial exercise of M1 as they allowed for the visualisation of a profie and section design, which may now be further devloped in M2.
2.0 DESIGN
Amber Barton and Chen Lin
2.1 Design Development At this stage in the design process the material system of profile and section has been used to create a volume around the head area. This volume defines the minimum and maximum extremes of personal space. Key aspects of the sketch design to be built on from M1: - The creation of negative space to represent the volume of intimate personal space that is almost entirely inhabited by only the user. This space is enclosed within the design so that it is all consuming to the wearer but not at first obvious to the outside world. Low (pers. comm., March 16, 2015) suggests that at this stage the limits need to be further refined so that personal space may be made context and user specific. - The use of interconnecting parallel planes. This is the core structure of the design as derived from the mechanics of the egg cutter and the material system of profile and section. The angle of intersecting and joining these parallel planes must be further explored. - Curvature of volume. Within M1 shape began to be explored as a mostly spherical form, however further refinement is needed to move towards a more dynamic shape reflecting ideas explored by Sommer (1969). - Ideas of rotation. A key exploration of the egg cutter was its hinge rotation. This will be taken further, however to what degree remains unclear. - M1 saw the planes modelled in the form of an egg cutter and then physically transformed into a volume by the reconfigured object. However, these processes will need to continue to form a cyclic exploration with the hand drawn sketch designs of M1 being made into a digitalised rhino model, followed by fabrication of a 3D scaled prototype.
2.2 Design Inspiration Egg Cutter
The egg cutter has curved crescent-like sections which are arrayed in parallel. This layout has been used in the shape and alignment of the vertical and horizontal sections of the design. The creation of internal negative space is also derived from the egg cutter.
Measuring Personal Space
As a key aspect of the design is the extremes of personal space it was crucial that these were identified. The below diagram represent an individual’s outer comfortable, conversational personal space, and the inner limits of intimate personal space. It is suggested that these two extremes be used as the limits for the profile and section design to inhabit. The idea of a hinge is also introduced through the fanned array of planes which reflect the movement around a hinge. This also shows density as near the center the ends of the planes are much closer, acting to solidify the internal negative space.
Anthropomorphic Movement In applying the digital design to a body mesh anthropomorphic measurements become crucial. The following question arose: “What does the inclusion of the negative space mean to the individual and how they define their personal space?� The current stage of the design includes a area of negative space around the individual in which they may conduct basic anthropomorphic movements.
Lin (2015)
NASA (2008)
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2.3 Design Proposal Version 1.
This first version of the design uses parallel planes in the vertical and horizontal. It has a density focus around the eye area. The design attempts to show the fragility of the external limits of personal space; however further refinement of shape and size is needed.
Top
Side
Front
Isometric
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2.3 Design Proposal Version 1.
This second version of the design uses the same vertical elements as the previous iteration; however, the idea of a hinge has been incorporated through the use rotational arranged planes. Further refinement of shape as it relates to the context of the body must be undertaken.
Top
Side
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Front
Isometric
2.4 Precedent Research [C ] Space DRL10 Pavilion Designed and Developed by Alan Dempsey and Alvin Huang with Adams Kara Taylor and Members of the AADRL [ C] Space was a temporary pavilion located in Bedford Square, London in 2008. It employs sweeping, thin, fibre reinforced concrete ribbons arranged in a profile and section shell. The [C] Space creates a sense of flow through the repetition of lines which sweep from the floor, up as curving walls and around as the roof. The planes are joined using a notch and joint technique. [C] Space wraps around an asymetric area of negative space in which people may inhabit. The use of a profile and section shell means light may penetrate into the negative space creating geometric shadows (Dempsey, 2010).
Dempsey, 2010
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2.4 Precedent Research Precedent Applied to the Design: Density: the precedent uses many evenly spaced parallel lines to create the profile and section structure. The number of parallel vertical lines in the design will be increased to clarify the internal and external limits. The design is reliant on a balance between material thickness and the spacing of parallels. This is a structural and aesthetic consideration to take forth in the design. Flush perpendiculars: the interlocking planes of the precedent are flush on the inner and outer extremes, creating a much clearer sense of limits. This will be applied to the design in order to allude to volume and further clarify the internal and external limits of personal space. Joints: The precedent employs notch joints to connect the perpendicular pieces. This idea of interlocking slots will be explored through prototyping. The precedent also includes discontinuous planes; however it is believed that the smaller scale of our design is better suited to continuous planes. Gaps may be explored through the removal of geometric sections.
Layers - Interlocking - Curvature - Encase - Flow
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2.4 Precedent Research Heydar Aliyev Center Zaha Hadid Architects In designing the Heyday Aliyev Centre, Zaha Hadid wanted to break free from the rigidity prevalent in the Soviet architecture of Baku. Instead she employs flowing curvature which is reflected by both exterior and interior. There is a sense of rhythm and energy reflective of the optimism of the nation of Azerbaijan (Zaha Hadid Architects, 2012).
(Zaha Hadid Architects, 2012).
(Zaha Hadid Architects, 2012).
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2.4 Precedent Research Precedent Applied to the Design: Inspiration is drawn from this Heydar Aliyev Centre as it defines a curvaceous interior space with repetition of parallel contours. The shape reflects the auditorium layout, but takes this further by adding an element of organic flow and curvature. It was decided that the density of our design needed to be increased so that the exterior and interior limits formed a rhythm of curvature, while still allowing views in and out.
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2.5 Design Proposal Version 2. Layers - Density - Curvature - Encase - Flow
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Front
Side
Isometric
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2.6 Design Proposal Version 3. Layers - Extremes - Curvature - Encase - Flow
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Front
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Side
Isometric
Section
2.6 Design Proposal Version 3.
Layers - Extremes - Curvature - Encase - Flow
Drawing inspiration from the precedents of [C ] Space DRL10 Pavilion and Heydar Aliyev Center this is the final design at this stage in M2. It uses 43 parallel vertical planes and 11 polar arrayed rotational planes. A flush surface is used to create an internal negative space around the wearer. The planes also meet to create a curvatious exterior surface which defines the external, everyday limits of personal space. It was decided that the materiality would use a 1mm thickness to ensure views into and out are still enabled and that the design manages to give a sense of flow. Further consideration of how the design will be placed on the body is needed.
2.7 Prototyping 1mm Boxboard 1:2 scale
2.7 Prototyping
2.7 Prototyping 1mm Polypropolene 1:6 scale
2.7 Prototyping
2.8 Critical Analysis M2 saw the transition of the design from sketches into digitization. The week three reading introduced the first consideration of this transition: How may our sketches become developable surfaces on rhino? (Pottmann, Asperl & Kilian, 2007). Scheurer & Stehling (2011) introduce a variety of ways in which curved surfaces may be created, including through the use of NURBS which create a precise definition of complex curvature with relatively few control points. From these two readings it was decided that a three dimensional NURBS form would first be created to model personal space; followed by contouring commands to create the profile and section parallel planes. The week 4 lecture introduced the concept of personal space effects (Low, personal communication, week 4 2015). At this stage we wished to harness light to exemplify the external and internal limits of our design. Our final polypropylene model begins to look at materiality as it concerns light, however these needs to be further explored in relation to views into and out. Elements for further refinement include: -Materiality: properties of polypropylene need to be further explored within a larger scaled prototype so deformation and shear forces may be tested. -Joint: problems occurred in modelling the exact joint lengths needed for the prototype. Modelling must be further refined so that joints may become part of the computer generated design. -Views: The point of view of the wearer must be clarified to allow for the individual to see out, without compromising the mystery of the sacred internal space. -Placement: Further refinement of the physical connection between the design and the body is needed to ensure the design remains site specific.
3.0 FABRICATION Amber Barton and Chen Lin
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3.1 Prototyping At this stage it was important to begin to test the design at a 1:1 scale. The original sepherical shape was still used. This protype has a focus on the joints and mechanics of the whole design as a system to ensure structural soundness at a 1:1 scale. It was found that while intitially fragile with limited pieces, as more joints were connect the design became self supporting. This design also began to look at the body as site in terms of placement and movement within the internal personal space. It was very apparrent when wearing the design that shoulder moulding needed to be made. The chosen material was boxboard, mostly due to cheapness; however, the dificulties assossiated with rigidity and fraying of material means we will not be using this in the final prototype. The views from inside, or lack there of, suggest density of verticle elements may need to be lessened. There was also problems with the notch joints not being correctly cut, suggesting further refinement of joint system needs to be explored in the digital model.
Exterior Effects
Front
Side
Axonometric
Interior Effects
Scale: 1:1 Material: 1mm Boxboard Digital Fabrication: Laser Cutter Dimensions: 507 x 410 x 514mm Number of Pieces: 54
3.2 Design Development - Precedent Study Aesop Flinders Lane Rodney Eggleston This Melbourne shop interior creates a sense of flow through the layering of 1550 cardboard sheets. Inspiration is drawn from the creation of curving interior shapes which flow around the infill of the shop features (Aesop, 2015). Personalization of internal negative space will begin to be explored.
- Flow - Contouring - Encase - Interior - Curvature -
Aesop (2015)
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3.3 Design Development - Reading Study Week 6 Architecture in the Digital Age - Design + Manufacturing
Laser Cutting:
Laser cutter will continue to be used even though it does create some burning on the edges. It is hoped this burning will not be as noticeable on 1mm polypropolene. For our design the laser cutter will be suitable; as polypropylene absorbs light and we will be using 1mm or less thickness.
Production techniques:
Contouring was used in our first prototype to create both the parallel vertical sections and the rotational sections. The same method of contouring will be used in further prototypes to create the profile and section structure of our design. A key point of the text was how digital software can be used to create complex curvature. We wish to further take advantage of this ease of formation by creating a more dynamic shape which better reflects personal space and the body as site.
Assembly:
We do not have access to assembly machinery and will have to manually construct our laser cut pieces. Etched labels have been placed on each piece to help with identification and construction.
Mass customization:
This idea of personalization is interesting for our design as it means the exterior and interior surfaces may be altered to suit an individual’s personal space preferences, and to use their own profile to create the internal negative space. This personalisation of the designs internal shape will be explored in following prototypes.
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3.3 Design Development - Reading Study Week 7 Digital Fabrications: architectural + material techniques Digital technology eliminates the gap between virtual model and physical outcome and allows the designer to move more fluidly between design and construction. This was especially true with the design which went from basic sketches almost instantly into a curvaceous three dimensional form. A cyclic quality existed between hand sketches of new ideas and expansions and converting this into the digital model, consequently followed by fabrication of a physical model.
Sectioning
Sectioning involves taking numerous cuts through a formed three dimensional object. We will continue to use sectioning to create our structure. Greg Lynn’s design highlighted the potential to create a sense of flow through the use of repeated curvature.
Digital Weave
Digital Weave will be used as inspiration due to its simplicity of form and use of light to add a new dimension to the translucent material. Digital weave has also inspired use to explore possible methods of movement within our design. The presentation of the fabrication sequence will also be used as layout inspiration, as we followed a similar process in our design.
Implications
Digitial technologies and their strong link between computer visualisation and physical fabrication, has allowed our design to continuously grow as we explored new ideas. Our basic structure remained the same stemming from two solids, one which described the internal negative space, the other created the external limit. Edge profiles were then created by contouring, leading to a profile and section structure which creates the structure of the original three dimensional solids. The ability to design straight onto a mesh of a person allowed the body as site to constantly be present in design considerations. The ease of reworking allowed by the three dimensional software led to easy incorporation of precedent studies.
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3.4 Design Development - Sketch Design - Negative Space - Interlocking - Layers - Flow - Encase -
Top
Side Section
Side
Front
Top Section
3.5 Design Development - Modelling Design Personal Space Sketches
Shape
Reconsideration of personal space found it is focused on the front and centre of the body sympathising with the bodies own shape. It was decided that personal space was less sensative at the back. The original measurements from studies undertaken in M2 will be retained with the internal personal space being approximately 3/4 of a head in a 160o rotation; and external personal space terminating approximately 2 heads.
NASA (2008)
NASA (2008)
Shaping around the back of the head with flaring around body to create a extruding outer personal space limit.
Shaping around the back of the head with a focus on the front and centre so that personal space parallels the core of the body and main line of eyesight.
Shaping around the back of the head and upper back, with a curving extension down the centre of the body. To be used for rhino model.
3.6 Design Optimization - Prototyping Creating Movement:
Stemming from the idea of the egg cutter hinge and drawing inspiration from the week 7 reading we explored the possibility of further exaggerating the internal and external by adding movement into the design. The original spherical rhino model was used to stimulate the creation of a physical prototype in which the front rotational sections could be brought up to the top to reveal the internal negative space. This worked on the same mechanism as a blind. This idea was transformed into a 1:2 scale box board model. After consideration of fabrication details and the desired articulation of personal space, we decided to further enhance the negative space through materiality and lighting; but we have included this model as an essential step in the thought process of what effects we wanted to focus on.
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3.7 Prototype Optimisation - Materiality
Polypropylene
Materiality is crucial to creating effects. The design aims to formalise the barriers of personal space while still enabling a connection between the wearer and the outside world. Completely translucent acetate was tested in M2, however, it was decided that the desired sense of flow and layering was not achieved. This lead to the exploration of reflective materials; however this allowed little interaction with the outside world, and completely obscured the internal negative space. Our next exploration of materiality lead to the translucent plastic of polypropylene. This material created interesting distortions of views in relation to layering. Upon further exploration we found polypropylene takes on a glowing quality when exposed to light and creates a sense of the fluidity of personal space. This glowing alludes to one’s inner flame, which begins to light up our design, bringing it alive and blurring the line between body and structure.
3.8 Prototype Optimization - Steps in Digitization
3.8 Prototype Optimization - Steps in Digitization
3.8 Prototype Optimisation - Steps in Digitization
3.8 Prototype Optimisation - Steps in Digitization The design was initially made irrespective of how the pieces would be nested together for printing and how much the material would cost. However, after the printing of the first prototype it was realized that better material efficiency would be needed. The first step that was taken was to decrease the density of vertical elements moving from 43 in the first prototype to 22 in the final prototype. It was decided that this was appropriate to ensure structural stability and aesthetics while limiting the material needed. The design also had to be limited to the cutting board of 600x600mm as this was the largest size available for polypropylene. It was decided that the two central pieces would be the only ones to span this entire distance. The rotational elements are able to be nested inside one another, like in board one, or inside the larger vertical sections. This minimizes the wasted material, as the cut outs reserved for the negative space can be in part filled with smaller sections. The material is not used as efficiently as hoped, but little more could be done to improve this without hindering the irregular curvature of the design.
3.9 Final Digital Model
Plan
Front
Side
Isometric
3.9 Final Digital Model
3.10 Fabrication Sequence
3.11 Assembly Drawing
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A J
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Isometric Detail
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Isometric
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I K
The labels indicate the order pieces were constructed. Crucial to assembly was the alignment of each notch on both the vertical and rotational pieces, as shown by the dotted lines.
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3.11 Assembly Drawing
The labels indicate the order pieces were constructed. The vertical and rotational elements were simultaneously notched together beginning at the center. Increasing ease of construction was reached as more pieces were notched together and the structure became increasingly self-supporting.
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3.12 Completed Second Skin Back Elevation
Plan (Bottom)
Isometric
Side Elevation
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3.12 Completed Second Skin Scale: 1:1 Material: 0.6mm Polypropolene Digital Fabrication: Laser Cutter Dimensions: 557 x 426 x 487mm
3.12 Completed Second Skin - Effects
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3.12 Completed Second Skin
3.13 Critical Analysis
M3 saw dramatic leaps and bounds of our design, using a continuous cycle between hand drawings, digitisation and fabrication of fragments. A 1:1 scale prototype was first created to gain a feel for the actual dimensions of the design as well as the structural qualities of the mechanical system. The week 6 reading clarified the linkages between digitisation methods of contouring, and how this could then be fabricated through laser cutting. This was then built on by the week 7 reading which introduced the Digital Weave as a laser cut design which relies on simplicity of construction. The lighting effects of Digital Weave directly inspired our own approach to creating effects. Sommer (1969) was revisited in M3 leading the design to move away from the spherical shape of previous iterations towards a more personalised internal negative space. Once this shape was clarified through sketch designs it was conceptualised through Digital modelling which allowed exact dimensions to be achieved and modelling directly onto a mesh body. At the conclusion of M3 a final prototype of our second skin was constructed and photographed to great success. We were able to use lighting to enhance the structure displaying its fluidity and encasement of internal negative space. However, transportation added an unforeseen complication, as wind caused our design to fail under the shear forces. This complication must be remedied for the final video presentation, either through alteration of the prototype or through investment in a transportation device.
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4.0 REFLECTION
4.0 Reflection One of the most important things I have learnt from Digital Design and Fabrication this semester is that the process of design development is not linear but instead involves a cyclic development over multiple platforms. DDF has allowed me to develop a competency with the digital modelling software of Rhinoceros 5. Through the presentation process I was also able to further refine my skills using Adobe Photoshop, Illustrator and InDesign. I feel these skills will cognate to be built upon in further study. One of the most challenging aspects of the studio was finding a balance between the different forms of communication. Initially I had a tendency to exhaust familiar forms of two dimensional sketches. It was the optimism expressed in the week 6 reading towards digital software as a design tool which inspired a heavier reliance on design reiteration within the digital realm. Iwamoto (2009) describes digital technology as eliminating the gap between the vitriol model and physical outcome as the design is enabled a greater fluidity between design and construction. This was found to provide major improvement to our design as it was able to quickly transform from preliminary sketches into a curvaceous digitalised form. From here we could easily use tools such as cage edit and contouring to refine shape and structure in response to precedents, and content of lectures and readings. Overall our design when through dramatic refinement within the M3 stage as we clarified ideas of personal space in response to Sommer (1969) and the introduction of the flowing curvature of Aesope Flinders Lane as a precedent. Perhaps the biggest fault in our design was a commitment to refining shape, with a lesser consideration of the mechanics. This resulted in a final prototype which achieved all or desired effects, but was quite fragile and suffered from shear forces. This was largely rectified through careful transportation, however at this stage the design could still benefit from further refinement of the digital model to further strengthen the profile and section structure through the introduction of multi-directional notching. An area of further exploration for our design revolves around the concept of Mass Customisation (Kolarevic, 2003). It is believed that our design could become user specific to reflect the wearers perceptions of personal space The users specific profile would be used to model the internal negative space, and the user using simple push and pull of control points to create their own iteration of the outer generalised personal space. A final reflection: craft has always involved a relationship between humans and technology, however digital technologies have allowed a new iteration through uniting architects with the tools that make their designs (Deamer & Bernstein, 2008). I believe that the use of digital technologies will continue to grow in scope as fabrication techniques evolve, which is definitely a good sign. If DDF has taught me anything it is that the opportunities enabled by digital technologies are (almost) as far reaching as the designers imagination and will be increasingly important in enabling my future projects to progress fluidly from design to fabrication.
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Appendix
Credit
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Bibliography
Aesop, 2015, Aesop Flinders Lane, Viewed 5 June 2015: http://www.aesop.com/au/article/flinders-lane.html Bernstein, P. & Deamer, P. 2008, Building the Future: Recasting Labour in Architecture, Princeton Architectural Press, Princeton. Cheng, R. 2008. Inside Rhinoceros 4 / Ron K.C. Cheng, Thomson/Delmar Learning, New York. Dempsey, A. 2010, [C]Space - DRL10 Pavilion, Viewed 4 June 2015: http://cspacepavilion.blogspot.com.au/ Heath, A., Heath, D., & Jensen, A. 2000, 300 years of industrial design: function, form, technique, 1700-2000, Watson-Guptill, New York. Iwamoto, L. 2009, Digital fabrications: architecture and material techniques, Princeton Architectural Press, New York. Kolarevic, B. 2003, Architecture in the Digital Age – Design and Manufacturing, Spon Press, London. National Aeronautics and Space Administration 2008, Anthropometry and Biomechanics, viewed 8th June 2015, http://msis.jsc. nasa.gov/sections/section03.htm Pottmann H., Asperl A., Hofer M., & Kilian A. 2007, Architectural Geometry, Bentley Institute Press, Bentley. Scheurer, F. & Stehling, H. 2011, ‘Lost in Parameter Space?’, IAD: Architectural Design, vol. 81, no. 4, pp. 70-79. Sommer, R. 1969, Personal space : the behavioral basis of design, Prentice-Hall, New Jersey. Zaha Hadid Architects, 2012, Heydar Aliyev Centre, viewed 4 June 2015: http://www.zaha-hadid.com/architecture/heydar-