Digital Design and Fabrication- M4

DIGITAL DESIGN + FABRICATION SM1, 2018 Module 4- Ambivert Projection Celina Supurnami Yaputra (813602 ) Alison Fairley and Rosie Gunzburg, Monday 12 PM

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1.0

Introduction 1.1 Measured Drawings 1.2 Measurement Analysis 1.3 Digital Model 1.4 Sketch Model 1.5 Sketch Design/Proposal 1.6 M1 Reflection

2.0

TABLE OF CONTENTS

Design

2.1 Sketch Design Development 2.2 Sketch Design Proposal 2.3 Personal Space Analysis 2.4 Refined Sketch Model 2.5 Initial Craft Prototype 2.6 Proposed Design ver 1 2.7 Proposed Design ver 2 2.8 Precedent Research 2.9 Design Development- Final 2.9 Digital Process 2.10 Prototype 2.11 Testing Effects 2.12 M2 Reflection

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3.0

Fabrication

3.1 Fabrication Introduction 3.2 Design Development 1- Inner Layer 3.3 Design development + fabrication of Prototype V.2 - Inner Layer 3.4 Reading Response Week 6 3.5 Prototype development 3.6 Prototype optimisation 1 3.7 Prototype optimisation- Outer Layer Development 3.8 Prototype optimisation- Outer Layer Development version 2 3.9 Prototype optimisation 3.10 Final Digitalisation Process 3.11 Final Prototype Model 3.12 Fabrication Sequence 3.13 Assembly Drawing 3.14 2nd Skin final design- Ambivert Projection 3.15 M3 Reflection

4.0

Reflection

4.1 Reflection Concept Art 4.2 M4 Reading Response 4.3 M4 Reflection

5.0 Credits 5.1 Bibbliography 6

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1.0 IDEATION Subject: This recyclable packaging is a carboard box that retains a small handcream.

The outer packaging serves as a system for Panel and Fold, as it focuses on the “second skin� or how surface measurement and rigidity the folded panels structures the hand cream.

This module also focuses on how to analyze the material system and exploring proposals to create volume surfaces on the completed second skin.

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Elevation AA

1.1 Measured Drawings

Scale 1:1

In order to obtain the measurements required for this task, photographic references of this hand cream was taken as the base of measurements. The hand cream was taken in different angles, laid on a flat plane and vertically against a white background to illustrate the item. Next, I measured the object using a tape measure for the sloping sides of the cardboard and ruler for the flat surfaces. A scale ruler was not needed as the object was scaled 1:1 due to its smaller figure in comparison to the other items provided inside class.

70 mm

Top Plan Scale 1:1 Furthermore for accuracy in the measurement, I stabilised the object, scanned the handcream and printed the items in A4 papers. The photographs are projected underneath a light box, and I outlined the carboard box into tracing paper. As a result, the photographs became the main method of tracing over the object.

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Bottom Plan Scale 1:1

Section AA Scale 1:1

Front Elevation Scale 1:1

Scale 1:1

The elevation depicts the words written and 11

To illustrate, the cardboard was mentally cut into half while still vertically intact to the flat plane.

Back Elevation

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small details of the outer covering box.

1.2 Measurement Analysis The box was dismanteled to obtain individual action drawings of the cardboard outer covering.

Below are the illustrations produced by the opening and closing movements of the structure, Floating spaced area to fit in hand cream

The red arrows breaks down the directions that the cardboard moves in order to retain the handcream and can be easily observed through distorting the shape of the carboard box. Creasing causes bending and movement as shown in the diagram.

Top view Scale 1:1 Shaded areas on both sides of the diagram represent how the box was connected together; through folding the top over the bottom areas.

The shaded area within the diagram illustrates the 90 degrees vertical bending in which the cardboard folds outwards the top area.

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1. One opening: Single side unfolded

2. One opening: Two sides unfolded

Hand cream contained

3. Two openings unfolded

Elevation

Elevation

Elevation

Elevation

Scale 1:2

Scale 1:2

Scale 1:2

Scale 1:2

Noted that reconfiguration of the cardboard box is not complicated, the box still has creases which helps to indicate the folding directions even though that the item is not in its’ initial shape.

Dismantling the Structure of Cardboard box The cardboard box opens up into a flat 2D structure which was then built into volume to contain the hand cream through creasing and folding the measured drawings.

Section

Section

Opened at 30 ° of the figure

Opened at 110 ° of the figure

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Section Opened at 180 ° of the figure Follows folding in and folding out from the cardboard principles.

Detailed version of the carboard front showing the different

Red dotted lines represent the areas in which the cardboard was

folding measurements that packaging has to follow to transform

creased and folded in, shaded in grey for glued area and the

into a 3d- like structure.

black lines as outlines of the cardboard boundaries

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1.3 Digital Model

Front view 15

Bottom view

Rear view 16

Top view

1.4 Sketch Model Model Making Process: Triangular Folds Materials: Thin layers of Balsa Wood UHU glue Metal ruler Small blades

I have decided to create a volume, 3d object which

Trimming

Adjusting surface

Framing

experiments with the folding of one surface to

Trim smaller triangles to allow exposure and create depth inside the object.

A test: I wanted to see if the edges

Creating frame edges for the modular triangles for durability.

each other and how the different panels create movement. I was interested at playing the pan-

could hold the wood together but the structure decided to bend af-

els on different directions but create a singular structure that has similar folding functions to a

not hold a bigger model.

cardboard box.

However unlike the box, I decided that I wanted to minimalise the high ability of distortion and alteration (especially when dealing with a large scaled final model), therefore making the figure rigid and out of wood. At the moment I am unable to use a 3d printer, hence not creating the model with a pattern using rhino and folding the creases.

Folding Edges

Flexibility

Folding patterns

Joining of surfaces together

ibility of folding the triangular model towards or away from each other.

Allowing both frame and surfaces when later 3d printed 17 and folded 17

to create a 6 surfaced triangular fold

Finished product Stacking of the products gives more of a 3d effect.Prototype of the panel and fold system.

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Precedent #1

Precedent #2

Arboskin Pavillion (Germany)

Resonant Chamber (Michigan)

Architect: ITKE

Architects: Geoffrey ThĂźn, Wes McGee and Kathy Velikov

1.5 Sketch Design #1

Model design aims to provide intertwined personal space for the highly sensitive neck and back areas. Each garment of hyperbolic object will advance from a pivot point in order to expand and fully open the model whenever the wearer wants. Furthermore, this will serve as a soft cushion if there was any attack from the front/backside of the body.

This sketch design was based on the response of reading Personal Space by Sommer 1969. From the study, the observers identified that deliberate invasions of personal space look to be more feasible and sound appropriate within mental hospitals. The study also apparently showed that the method of proximity to strangers could also be adapted in other settings apart from the hospitals.

Victims at the hospitals reacted towards invasion differently because of varied perceptions of their expected distances and concentration capabilities.As a response, the sketch was imagining how to keep protection of the wearer’s personal space by wrapping on both the front and back side of the body but still keeping the design unharming.

Mould Protection

Hyperbolic Volume design

Extravagant Multi-dimensional

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Front View Detail:

Rear View

Design is to be placed in a nonuniform matter of a garland for aesthetic purposes. The hyperbolic object will pass through neck cross-section and intertwines with the shoulders.

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Design inspirations:

Detail:

Pom-poms (with the ability t to fold and expand

The 3D eff f ect that the expandable

whenever is possible and modular origami for

hyperbolic can create through

shape reff f erences.

exposed pockets of paper

1.5 Sketch Design #2

Twisted layers of different square panels bulking up to create volume. This design provides the protection towards the most important parts of body (eyesight and body).

For visual invasion response, stealing of space and invading what does not belong to an individual includes making prolonged unwanted eye contact. This design creates an armour as a defensive state of personal space to evoke attention into the futuristic model instead of the wearer of the second skin.

Futuristic Iris Folding

Twisted Patterms

Eyesight Visial Invasion

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Front View

Side View

Detail:

Detail:

Design feautres the ability to avoid eye contact with

Diagrams showing how to fold the centre of the model,

people when not needed, chest brace and arm shield

allows an open and closed centre so the person wearing

if in case there was an attack.

could have control of sight.

Precedent:

Prototype Walk

Iris Folding

The folded object will

Detail:

have one focus “eye� or centre in the

Folding of origami as stacked one

middle (possibly coloured in a dif-

top of another and acts as a layer

ferent manner) and then the shape

creates a 3d, more volumed object

swrils

in comparison.

around the body and creates an optical illusion; leaving the person to see it dazed and confused.

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1.5 Sketch Design #3 The oval-like design that appears to intertwine in the body will be made up of a glass facade or a plastic; one that is transparant to showcase the relief and depth of the personal space.

Expansion Scarf

This features a series of metal spheres intersecting with the main plastic body volumes to create an exciting 3D circle effect. With the designed model, wearer will be able to restrict the body’s moving abilities and set boundaries of actions to only when needed.

A response to Sommer 1969, with the statement of space, should handled like a porcupine’s whereby one would be close enough for some sensitivity and closeness but also far enough so that they cannot prick one another. However, I was not comfortable on using spiky patterns in my design and therefore using plastic instead to create a more gentle approach of personal space.

Foldable Plastic

Portable Transparency

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Front View

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Detail:

Prototype walk:

Foldable strings of plastic

Inspired by using a paper lantern,

Detail:

that are portable to use at own’s

plastic that makes up the

Shaped in like a scarf, starts from the bottom of stomach and extends until sitting on top of the neck. This will provide protection while giving a comfort of a pillow for the wearer.

conviniency.

ellipse structure and will be supported by metal. This model will be inflatable as users can inflate the object on the severity of personal space.

1.6 M1 Reflection In this Ideation module, creating analysis diagrams as an exploration of panel and fold was beneficial to take close observation and familiarise the given material systems and for future Rhino modelling in module 2 and 3.

Heath and Jensen’s 300 years of Industrial Design (2002) restates that measured drawing helps us to understand mental and physical activities which are a necessity to design an object.

The handcream was drawn in accordance to scale with a 1:1 drawing, then traced into rhino was a challenge for me, as I have never used the program before and the exercise has helped me to start up my skills at rhino as a base skill for the upcoming module exercises. I believe that also by creating a sketch model out of the system, it has allowed a greater depth in the explorations of ideas I want to create for the second skin and capabilities of paper and wood folding to create volumetric surfaces.

The sketch proposals were derived by Sommer’s concept of Personal space.

To explore personal space by use of the invasion technique, the article explains that Sommer and Nancy Russo undertook a study that aimed at avoiding the usual connotations of surroundings forced proximity to strangers. This has been the rationale behind sketch design proposals and what was necessary defend from the occasional and unwanted contact.

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2.0 DESIGN Subject: Creating a full body prototype based on our personal space concept iterating to precedents provided. Our design was based on the scenario of being an ‘female extroverted-introvert’ and design was created after digital development and prototype.

Group Members: Celina Supurnami Yaputra Yi JIng Tan

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Plato Collections,

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( Amila Hrustic of Bosnia and Herzegovina, 2010)

2.0 Design Final Prototype

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2.1 Sketch Design Development In the previous module sketch designs we have focused on how to visualise personal space in the presence of uncomfortable created through rigid panel and fold framing structures.

Jing’s designs focuses on the principles of enclosing the wearer’s body through the garment in a blanket- like manner, creates a sense of denial of physical touch from the back and gradually ceases to the front, hence creating personal space.

Using the ideas of extruded hexagons that creates volume to prevent people from approaching, Jing used larger sized ones as the design finishes at the upper thigh, to protect the private parts which formed the integral idea of how her

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SENSE OF SECLUSION

Celina’s designs showcase the notion how relief and depth of personal space can be created through the design.

By using plastic as a source of defense mechanism, she was able to form a screen of privacy enabling personal space while inviting people to come in as plastic generates a transparent layer, giving a sense of wanting to be available for other people while still maintaining the personal space.

SENSE OF PROJECTION

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2.2 Sketch Design Proposal Initial forms drawn below are used to visualise the form of our design. Choosing in adapting two layers of structure as they catered more and supported the ideas of personal space between our group members.

The concept will focus on giving personal space according to transparency and opacity of different body parts according to what is deemed vulnerable and not.

As Robert Sommer wrote in Personal Space (1969) personal space should serve as an invisible bubble that surrounds an individual and these invisible boundaries serve to maintain proper spacing between individuals with the size of the zones varying across cultural, social, personality, and environmental dimensions.

ABOVE DETAIL: PROPOSALS FOR OUTER LAYER

BELOW DETAIL: PROPOSALS FOR INNER LAYER For our project, the inner layer of opaque material will be closer built to the body, the second layer will consist of transparent geometric forms projecting, capable of being compressed and stretched out according to how the wearer wants the privacy to be extended to. This digital fabrication will focus on the means of restraining contact while maintaining the want to look approachable during uncomfortable situations.

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DETAIL: VUNERABLE ZONES IN A FEMALE BODY

The word ‘female extroverted- introvert’ is emphasized in our study of personal space. As a team with two females, we intended d to test out the distance needed for female to feel comfortable in social settings or when surrounded by unfamiliar people. Our thoughts on personal space are based on our own first hand experience. Feelings of anxiety, fear, insecurity and threat will naturally be developed when personal space is being breached.

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2.3 Personal Space Analysis

CONTEXT: WEARER IN AN UNFAMMILIAR SOCIAL ENVIRONMENT

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We conducted simple experiments in the university compound by standing at a rather far distance from strangers and slowly increasing the proximity to a point where we feel it’s too close. Physical and emotional responses are also collected when personal space is being violated.

When getting too close to a stranger, our mind signals us to be aware of troubles or threats, and simultaneously we show bodily signs of wanting to move away instantly. After a few tests with people of different gender, we mutually agree that the most comfortable distance to engage with people without feeling invaded is the distance of at least 45cm.

The main focus for this digital fabrication will be on the patterns and layers, and how this creates a ‘safety bubble’ for social interactions without tactility. Confidence and extroverted traits will only be projected when one feels comfortable and secured.

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2.3 Visual Sensitivity: Isolation or Projection?

We have illustrated this iagram to show how people can be approached in a way during social situation, and what types of Second Skin project will be the most suitable to prevent people from just touching our bodies in general.

Upon analysis, we feel that one layer of inner surface close to the body was not enough from creating a barrier and our design needs to project even further to inform other people in regards to privacy of its wearer.

For us as introverts, personality characteristics have also been examined in regard to personal space. Research suggests that introverted people place greater distances between themselves and others. These people indicate that close distances provoke more anxiety and stress.

Therefore, this evokes us to design the project with this in mind:

How do we maintain the feeling of being protected while wanting to be approached and still maintain interpersonal interactions?

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CONTEXT: FEMALE WEARER IN AN UNFAMMILIAR SOCIAL ENVIRONMENT

2.4 Refined Sketch Model Experimenting with patterns on a rhino model, we have explored a pattern that will allow us to construct our design of playing with solid while maintaining transparency to aid in conversing with another person. This was mainly inspired by the sketch model our team member Celina had in module 1.

DETAIL A: SEE THROUGH AND OPAQUE LAYERS OF FOLDS We have created forms using simple pieces that fold, create a volumetric model as it will enclose the human body and this became the basis of our initial exploration of design pattern. We also have looked upon different details of visual manipulations that the triangle folds can create and how the restraint of being visible in public will impact the user.

Experimenting with higher density of paper also helped to create a sturdy and created a few scenarios we can experiment on what geometric pattern will be suitable for our inner layer.

ELEVATION VIEW

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2.5 Initial Crafts Prototype

DETAIL A TRAILING SPIKES CURVES INWARDS

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DETAIL B TRIAL OF HEXAGONS ON THE FIRST LAYER

DETAIL C FOLDING AND VOLUM

DETAIL D REPEATING PATTERN FROM ONE MODULE TO ANOTHER

METRIC CONCEPT

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2.6 Proposed Design Version 1 The first proposed design featured the hexoganal form we had in mind for the sketch design. The rendered version of each unit was concieved in mind having the transition of opaque and rigid lower base for support of the body that transcends into a transparent look. Using the singular module of hexagon as our base of panelling elements, this creates a folding pattern that allows us to create an easier process for the projected hexagons to fold around the body and create an enclosed volume.

Use of clothing can signal a person’s approachability as well as express acceptance or dissatisfaction with particular social situations. We have found a way to attract people into striking a conversation with us while wearing the personal space barrier structure, and that was to provide illumination within the units and the lights placed will also provide an expressionist manner in which will capture people’s attention. “Design solutions should not only provide the needed illumination, but should enhance the aesthetic qualities of the space” (IESNA,1995, p.1).

DETAIL A : INITIAL FORM OF DESIGN

Often when people feel crowded by others, they desire a feeling of privacy, they may or seek out another place to establish physical privacy. Since the lights can be turned and on and off, this will provide an easily adjusted sensory effect of sight. From this concept we also have in mind of extending the hexagonal units around the stomach area with wire mesh to effectively tell the people we are conversing with to stay within the distance. The idea was concieved in Rhino but we were redudant to do this with a physical model as we find this tedious to do manually.

DETAIL B : INITIAL DESIGN: OPAQUE AND TRANSPARANT

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Pattern Proposal Hexagon patterns can be bordered by six other hexagons, which can themselves be bordered by six hexagons (including each other), and so on, indefinitely in any direction on the model space.

DETAIL C: LARGEST UNIT OF HEXAGON WITH WIRE MESH EXTENDING FROM THE BODY

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DETAIL: LARGEST UNIT OF HEXAGON WITH TRANSLUCENT BODY

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DETAIL: MEDIUM UNIT WITH SEGMENTS TO ALLOW STRING LIGHTS PASSING THROUGH

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DETAIL: SMALLEST UNIT OF HEXAGON OPAQUE AND RIGID BASE, WITH TRANSLUCENT EXTENDED UNITS

2.7 Proposed Design Version 2 Our second proposed design features the hexagonal patterns realised in Rhino cladded by series of foldable but rigid heavy paper. We wanted to create a bigger extruded surface on the front side of the body and less focused on the backside of the body. For precision, we have used network srf command on Rhino to implement the idea of a figure fitted inner base layer of hexagons before we create another layer of extruded hexagons.

This proposal now wraps the body in a volumetric dimension that covers the personal space that the body needs. We tried going for a dimension of 45 cm, where the form will enable one to have privacy when in a social setting.

FRONT VIEW

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FRONT VIEW

TOP VIEW

REAR VIEW

RIGHT ELEVATION

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2.7 Precedent 1 Research

RON RESH- TRIANGLE FOLD CONCEPT

Ron Resh Paper Folding (Origami Archetype) Al Bahr Towers (Aedas Architects, 2012)

Uniform use of triangular shapes and form used as a function of a “layered building�

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Transformable // Adaptive// Origami // Acoustics

Design: Resh studied the principles of wrinkles in the crumpled paper surface. The resonant chamber acoustic roof paneling system developed employs the flexibility of the Ron Resh defining geometry- an origami archetype- to transform the acoustic signature of a space. Inside the triangular panel and fold structure, composed of reflective, absorptive, and electroacoustic panels, the pieces can dynamically adjust their shape to expose or hide these surfaces, thus altering conditions according to sounds. The design has built in a sensory based personal experience and we want to replicate that.

2.7 Precedent 1 Applied to Design

1. Use of Paper Folding - Transitions of Different Sizes

Paper folding is important in architecture because they can develop deployable structure designs. Paper folding on surfaces can be used as an assembly of rigid facets that can as well be applied in architecture. A mechanical model of paper folding that derived from a folded surface and is used for the assembling of rigid facets comes from the rigid folding. The rigid facets are best made with straight lines and perfect hinges and architectures and structural engineers can make them useful by making deployable structures (Lebee, 2015).

While previously I have opted to use wood due to precision and cleanliness, I find that paper folding is now great for our second skin as we can get the ivory cards laser cutted, and etched the folding line which creates a much faster job on folding the individual units. Through paper, we can transform them to different variations which will support the idea of having different module sizes for transition.

Different units are connected to another module through fabrication. We wanted to create a second skin that will iterate the subject of Panel and Fold and paper was the material we found easy to be controlled because it was thin enough even though it proved to be inextensible and thus was best suitable folding surfaces.

DETAIL A : ITERATIONS OF PAPER FOLDING AND CRUMPLING TO CREATE A VARIETY OF SIZES AND SHAPES DONE IN RHINO

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RON RESH: PRINCIPLES OF KINEMATIC IN ORIGAMI ARCHETYPE APPLICATION OF DESIGN

2. Expandable Geometrics- Tactile Defensiveness Some of the materials that are under investigation for folding include the mathematical innovations and structural and kinematic properties of folds that are best known as origami.

The use of expandable folding mechanism is a great choice for us as we have chosen the heavy art paper as the material and in considerations of the weight, connections and elasticity of ivory paper around 500 gsm there would not be a problem for us to incorporate this matter of panel and fold into the second skin. Furthermore, we can visualise the idea of incorporating effects such as sensory (sounds/lights) when designing the skin as per the sample from the design that places an emphasis as a sound and vision buffer.

DETAIL: TRIANGULAR MODULAR SHAPES

BUILT IN PATTERN (FOLDABLE)

Front view

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EFFICIENTLY MOVABLE GEOMETRICS

Front view: EXPANSION AND CONTRACTION

2.7 Precedent 2 Research Plato Collections ( Amila Hrustic of Bosnia and Herzegovina, 2010) The precedent uses layers of panel and fold structure designed with a rigid exterior shell and specific geometric arrangement that are created with paper and sticked onto fabric with different configurations. With one size of the module, folding allows a connection between one to each other and make them flexible for folding throughout the whole dress structure. The space left out between the modules are purposely done to enhance the flexibility between movement of the dresses. Through repetition and distortion of the modular elements of the structure, it has created density and a volumetric design. ( Dezeen, 2010).

Triangles are placed on the second part of the picture on top of the shoulder as shoulders along with neck are considered sensitive spaces.

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2.7 Precedent applied to design The pentagons/hexagons should also have some rotational symmetry that exposes them throughout the dress of the image. The diagonals of the geometric pentagons in the dress appear in a convex manner and the ratio of sides is golden whereby the distance from one side to the opposite vertex equals the diagonal length.

Concept: Create Density and Movement

Another way is that we can create different sizes of modules from the top to the bottom and it will create a shadow on its own.

Randomnizing the shapes and patterns of different modules might also create a more interesting shape in comparison.

DETAIL PATTERN: Another modular arrangement we can use to create pathways that are denser on top and lighter at the bottom

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DETAIL PATTERN: Creation of density and shadow within the dress Lighter at the top and becomes denser as the dress drapes to the bottom

Denser Bottom Layer Visible Upper layer with holes letting transparency/ light to come inside Bigger sizes blocking areas towards strangers

Different Sizes According to Areas of vulnerability Transition of Sizes according creates movement and structure on the second skin

DETAIL: Hexagonal Base Shape

DETAIL: Idea of depicting visibility through layering

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2.8 Design development - Final

We arrived at the final form of the surface after deciding to increase the volume at the chest-to-stomach area. The skin encloses the body fully, leaving only openings at the side to allow hand movement. A curve attractor is extracted on the surface at the waist level.

This allows the chest-to-stomach area to be delibrately expanded outwards to achieve the spatial distance of 45cm, making it harder for any physical contact. Also, the left shoulder area is extended in height to prevent any unexpected encounters from the back.

Furthermore, we also have changed our modules from hexagons as they lay flat after a laser cut test and the pentagons create more surface and volume from the pattern.

DETAIL ABOVE : Flat hexagonal base shape

DETAIL BELOW: Volumized Pentagonal base shape

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DETAIL PATTERN: Final PrototypeSecond Skin Development

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REAR VIEW

FRONT VIEW

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REAR VIEW

W

RIGHT ELEVATION

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The final skin or our project is built through the exploration of layering, curves, polygons and visibility. The panel and fold system is depicted through curvilinear forms and polygons of different sizes to create a dynamic, less defensive effect. The first layer covers most part of the body through the construction of folded panels. It conceals the curves of the physical female body - a common female insecurity.

FIRST LAYER: PENTAGON UNITS

SECOND LAYER: EXTRUDED POLYGONS

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Hence, the folded units gradually increase by size as it get closer to the chest area to offer protection to the sensitive area of the female body. On the other hand, the second skin acts as a boundary that creates distance between people through the creation of extruded polygons with varying opacity. By playing with the visibility of the extruded polygons, it indicates the degree of privacy and how willing the user is to open up to people. The integration of both layers produces a geometric overall form that smudges the boundaries of being an introvert and extrovert.

2.9 Digital Process 1. Surface was created through the lofting of a series of ellipses.

2. Crease splitting command: excessive creases of the surface are removed to ensure smoothness of the surface.

3. Surface Domain Grid Variable command: the application of panelling grid was built using attractor curves created on the surface. The magnitude was increased to 5.

4. The first layer of skin is panelled through the creation of polygons at different sizes. To achieve that, grid points are offset and an attractor curve at waist level is built.

5. The second layer is built through the same command but the selection of different objects.

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2.10 Prototype We came to realise along the physical modelmaking process that it had a significant discrepancy with what we anticipated in the digital fabrication. The digital creation might not exactly be achievable as the distortions made on the computer might be physically hard to build.

The individual pentagon units of the first layer was unrolled into triangular tabs and laser cut onto Ivory board. Tabs are then pieced together and units are connected together by the edge.

The edge connection allows a curvilinear surface to be formed as it will be folded, forming a distortion in the overall form. Similar method is applied on the second layer. However, we encountered the problem of clashing units as the units might be folded in a certain angle that creates a deformation on the surface.

Also, some of the bigger pentagon units are seemingly deformed when connected to the edge of other units because of the material used. Upon further consideration, a stiffer material would provide a stronger structural form for the prototype.

DETAIL A: FABRICATED UNITS

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2. 11 Testing Effects SENSORY EFFECT- SIGHT

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DETAIL A: CLOSEUP LAYERS

The opacity and visibility of the project is further elaborated with the addition of strip lights. We experimented with the integration of lighting and how it enhances the idea of having different degree of openness towards people, which is represented by the second skin. Lights were turned off during the testing stage to enhance the interesting interplay of lights and shadow.

The end results turned out as we anticipated.

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DETAIL B: FRONT ELEVATION WITH LIGHTS

The lights were only placed at the extrusions that were semi-open/ open.

Hence, this allows for a control in visual penetration from the outside as people tend to focus on just the lights at the second skin, eliminating the curiousity of looking what’s beneath it.

DETAIL C: WEAR TEST ON THE BODY

This also creates an ‘illuminated’ barrier aound the skin. People will be attracted to the illuminated skin but at the same time, they will naturally stand at a relatively further distance to observe. This avoids unnecessary contact with people yet not losing the potential of social interactions for the user.

2.12 M2 Reflection

In this module we have made a significant number of prototypes which has enabled us to choose a more specific shape that extrudes the most from the body. Initially we had hexagons as our basic shape, we changed the form into pentagons. Through one of our precedents, in the Plato collections, the architecture of the Pentagon geometry of the dresses tend to fit into the entire dress and every shape is bordered with five sides. The pentagons are sided against each other and every shape moves in a flow after every other.

However, we had to face the problems- of first, unable to create hexagons that are tessellated and thus their structural appearances can be repeated across the surface without enabling overlapping or leaving of gaps. Our inner layer had gaps , and we require further knowledge at digital modelling. Another problem was being unable to laser cut the 3d models because the form was too complex to unroll. The sizes of the pentagons are too random and too many doubly curves in the digital space. Thus, we manually created pentagons for the prototype which slowed down our process and was time consuming. ‘Lost in Parameter Space’ reading contains on how reduction in 3-D is in the contrast of abstraction and it involves finding the optimal way that can transport information and this is the process that we needed to do to project the whole second skin into reality.

As we had manual numerous sizes and holes to create within the model, we have struggled with creating offset angles however corresponding with the Architectural Geometry by Pottman, we found that when applying the use of offsets, one must understand that the singular positions of the corresponding rulings are often not at constant distances. In any unfolding (including the polyhedron), the planar faces have to be shown in their actual size and shape. Any face of unfolding, therefore, would be congruent to the face of the involved shape.

Lastly, when fabricating the prototype, I find that using polypropylene was not favourable at it creates burnt marks and does not fold well alongside the ivory card we had underneath, which even further creates more gaps and does not connect seamlessly. On top of that, our material choice does not give the flexibility we want as our panel and fold model has to transition with different sizes.

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3.0 FABRICATION Subject: Redesigning the whole form, creating the final body prototype from panelling tools and further improving the desired design to achieve the final fabrication.

Group Members: Celina Supurnami Yaputra Yi Jing Tan

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AMBIVERT PROJECTION SECOND SKIN- FABRICATION MODEL

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3.1 Fabrication Introduction

Following the feedback we have recieved from module two prototype, we focused on how to further refine our previous problems with the digital design and explore on more fabrication techniques with various materials. Using the basis of a panel and fold program, we decided on aiming less on the final form in terms of size, however, focusing more towards the formation of a three dimensional final model that extrudes more from the body. As we initially had the shapes of random units for the previous digital design, manually changed it towards pentagons for the M2 prototype because we were unable to unroll the individual units, we decided to shift back towards our original idea to use the former.

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The six sizes of the equal length has given us an interconnecting model which will be further explored in this module. Previous feedback also includes on how we should use a variation of individual units as the different sizes of aperture will define the areas that was needed for the concept of our personal space. We also encountered a number of problems during the previous prototype such as difficulties on retaining its rigid shape and unableness to connect the different materials together. These factors that was needed for development has evoked us to create a model that was completely designed with digital technology rather than using a manual development process.

ambivert. noun [am-bi-vert] one whose personality type is intermediate between extrovert and introvert

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3.1 Previous Refined Digital Design Pentagon units which were not interconnecting

Individual units

Random sized modules that were too distorted and could not be unrolled for fabrication

Inner layer

Three patterns of extruded layer

Only three variations of shapes that does not show enough transition from one shape to the other

Unrealized form: structure too large for a team member of two to fabricate

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FRONT ELEVATION

REAR ELEVATION

3.2 Design development 1 - Inner Layer

Isometric Elevation Previous digital model

Isometric Elevation Refined digital model

Detail A: Rules of Personal Intimate Space Deviating from our design concept of personal space for prototype two, we decided on not using extruded wire mesh as our outmost layer, however, still within the concept of layering, we decided on how we can use the hexagonal modules instead of creating maximum volume- the 40 cm to cover intimate space as we wanted earlier.

Trial of unrolled surfaces from the latest model

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Second skin design to drape over neck area and sits behind shoulders Smaller modules around the shoulder and neck area, purpose only for bracing Transition into bigger modules around the chest and slowly towards the stomach area- where the most vulnerable zones in the bodies are and used to avoid tactility

Eliminating the second skin size bottom parts in order to decrease the amount of fabrication time and focusing on the extruded second layer as precise and structured as we can.

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Redesigning Structure The new inner layer has provided a rigid connection between the hexagonal units that will serve as a strong basis for the extruded upper weight added later on. This has eliminated our initial concern from the previous prototype of having individual units that dangled due to spaces left behind and unableness to balance weight between each other whilist being susceptible to damage. With a new ability to create second skin completely from the use of paneling tools, we have the advantage of creating the whole form as visualised in the rhino model.

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3.3 Design development + fabrication of Prototype V.2 - Inner Layer

7.6 cm

6.6 cm

Previous tabs: Connections were too short and was overlapping with one another

Prototype Version 2: Building Connection of each Individual Units Form: We were able to unroll the individual units with precision and took measurement of each modules to account for the personal space concept of achieving a distance of 40 cm that we had. Tabs were placed on each edges for laser cut in order to create a structure that would maximise the connection ability while still allowing the units to move in a panel and fold system. However, there was still not enough pressure to hold the tabs together with double tape, hence we opted for the use of uhu glue and staplers for the less visible bottom layer to create a certain rigidity to its form.

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Developed tabs: Larger sized and adhering to only the direction of another module.

Detail A Several inner layer prototype were printed out in order to test the materiality and connection of the individual units

Detail B Created connections with 1cm width and 5 cm length, then attached to each other with use of double tape around the edges

Detail C First layer failed to attach properly to each other; concludes that we need a bigger use of tabs around the edges and that double tape was not capable to secure 450 gsm of ivory card together

Detail D Some of the tabs were made larger for testing, and we decided on using much larger size of tabs to allow connection using the uhu glue.

Detail E Arrangement of first layer modules sent for laser cutting This prototype has acted as a base experiment on how we were going to physically connect them using the right materials, overall utilising the rigidity of our model.

71 1c m

5 cm

3. 4 Reading Response Week 6 Architecture in the Digital Age Design and Manufacturing/ Branko Kolarevic, Spon Press, London c2003

In module 3, Branko Kolarevic has outlined the usage of technology to translate the second skin design project, particularly on how we can realise it into the real world through design adjustments and symmetry inside the computer software development. Digital technology was set to change the world of architecture by allowing new modalities of design, practice and project delivery. It has allowed the possibility of making real life architectural designs closest to the virtual designs. With the help of digital fabrication techniques, it is possible to use the production resources efficiently and effectively. Along with that, it has enabled the use of constructive durability and the alignment of design concepts with the material available. This tool has revolutionised the future building processes by bringing together the combination of architecture, structural design, robotics and material and computer sciences all bound with the common element of digital technology and benefitting with the resulting synergy in the process. A successful integration of innovative architectural designs and digital technology can allow completely new forms of architectural expressions. This will be aided by the help of research in order to fully explore the viability and possibility of combining these components.

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Architectural designers are free to choose now beyond the limits of 2 and 3 dimensional techniques of drawing and physical modelling. Instead of this, design attributes are directly linked factors such as fabrication or material constraints or structural or environmental optimisation. Virtual spaces, objects and designs are integrating with physical spaces, objects and designs.

Great quality physical models are a result of well-constructed 3D geometry in virtual space. Digital applications allow for high degree of precision in fabrication, replication and assembly which eventually results in successful transition of virtual reality of Rhino to the real world. The application and availability of Rhino has made it possible to simply input the geometry of the physical model in order to get the outcome as digitally encoded set of information which is sent to the laser cutter which makes use of a laser beam, plasma arc and water jet. The process maybe be carried out on a cutting head and or a moving bed or perhaps the use of both at the same time. The digital fabrication makes use of subtractive, additive and formative techniques. it has been projected that the use of digital fabrication will allow a reduction in building material usage of 30-60% and then 50-70% reduction in construction time and 50-80% reduction in labour.

Kolarevic has mentioned four digital fabrication processes: 1) Two-dimensional fabrication: digital fabrication of CNC cutting using techniques such as laser cutting, plasma arc, laser beam and water jet. The process is carried out with the help of a moving cutting head/moving bed undergoing a cutting process along the designated zones that was created using the program, and afterwards assembling the output pieces together.

Detail A: 2 dimensional fabrication: CNC cutting

2) Subtractive Fabrication: removes a specified volume of solids as digitally prescribed inside the design, typically using electro, chemical or mechanical reductive (multi axis- milling) using the same way of fabrication mentioned previously but currently with the uses of three-axises (x, y and z) motion of cutting.

3)Additive Fabrication: creates incremental form by adding material per layer, typically achieved through light, heat or chemicals (e.g. 3d printing) with costly equipment and lengthy production time.

4) Formative Fabrication: Desired shape was applied through reshaping/deforming a shape created digitally. Mechanical force, heat and bending techniques were to applied to the item with the typical of metal as material.

Given this scenario, it can be predicted that these fabrication methods will result in huge,and evident changes in the construction industry and will renew the face of architecture by allowing tracing all possible errors beforehand during the designing process. It is true that such level of precision and modelling needs both high skill set of the designer and a high precision software such as Rhino which will change allow putting inputs together and translating these models into real life architecture.

Detail B: Additive Fabrication: 3d printing

Detail C: Subtractive Fabrication: Three axis milling

The process of transferring physical model to digital one uses the technique of reverse engineering which is carried out by use of 3D scanning techniques which input laser scanned points to a digital plane.

The designer has the liberty to choose whichever processing method is best suited for each of the models depending upon the type of material that is used, the complexity of the designed model and the shape and form of the model to be processed. The final model is then obtained after the assembly process is completed.

Detail D: Formative Fabrication: Double curved metal bending

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Reading applied to design How does the fabrication process and strategy effect your second skin project?

Our team has used the process of Digital Design and Fabrication from start to the finish with less to no manual craft on both the prototype and the final model. We have built the whole model according to the scaled model in the Rhinoceros program, with all the design adjustments and symmetry made within the use of panelling tools. The two dimensional fabrication laser cut method was used, then assembled the final pieces together to create a volumized, three dimensional form. The system panel and fold also allows us to realise the digitized form using the ability of lighweight but secure ivory paper. Second skin was created using complex iterations of hexagons, and with the use of digital fabrication, we have the advantage of being able to focus on the digital model compared to the time consuming labour of having to do manual paper folding.

As the design consists of two layers with one of a laid hexagon base and second with extruded units, we have developed 6 base shapes and experimented with different variations to get the finalised form we wanted using the Rhino program. With the differnet sizes of openings from hexagonal modules and the precise connections of the base layers, we could not have achieve buillding a truly rigid form by manually calculating the angle and measurements of each modules that connect with each other and have no human error within the complicated process. Counting manually variations in geometry will become an overwhelming process for our team member of two, however, as a result of using laser cut to fabricate the model, all we had to do was fit the specifications into panelling tools in order to get the whole model laser cut and quickly assemble the final parts of our model with no modifications needed in real life.

Detail A: Module 2 Prototype, Constructed with two dimensional

fabrication method: laser cut of materials polypropelene and ivory card 450 g

Detail B: Module 3 Prototype, Realised with two dimensional fabrication method: both layers constructed digitally,

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then using unrolled surfaced rhino to create triangulated/ planar tesselated surfaces.

gsm

3.4 Reading Response Week 7 Digital Fabrications: architectural + material techniques/Lisa Iwamoto. New York: Princeton Architectural Press c2009 As far as Digital Fabrication is concerned, it can be seen that it is a type of a manufacturing process. The recent shift in the use of digital technology drom design to fabrication brings construction abilities to realise the whole form in digitized space before an actual product, and demonstrates clear design and innovation through the projects. Fabricating can be found in a number of methods, and these include CNC Machining, 3D Printing, and Laser Cutting.

As far as CNC Machining is concerned, it can be regarded as a technique in which shapes are essentially cut out of wooden sheets. This technique is essentially used by most companies to refine the overall procedure in this regard. Additionally, another technique in this aspect is pertaining to 3D Printing. With 3D Printing, objects are built up out of layers of metal or plastic. This is fairly a new technique which is increasing in importance, and the overall usage of these factors is increasing exponentially.

Lastly, another technique that is highly used today, is about Laser Cutting. In this particular is concerned, materials like metal are burnt or melted using a laser beam. However, in exception to that, it can further be seen that there are a huge range of digital fabrication techniques. The most crucial aspect is the fact that it is able to unify them that these machines are reliably programmed to make consistent products from the digital designs. The laser cutter is able to modulate the speed of the laser head, as well as the intensity and resolution of the laser beam, and as such is able in both to cut and to score material, as well as approximate raster graphics.

1) Sectioning: Allows designers to represent edge profiles to the constructors. As a matter of fact, projects are shown both in their finished forms and in working drawings, templates and subsequent prototypes. In the same manner, this further allows the reader to watch and observe the overall construction shape up according to the desired needs. However, sections are now realised as a technique to represent form by stacking multiple layers of form . e.g William Maissie Playa Urbana/ Urban Beach installation in 2002. The central element of the project is a group of three shallow reflecting and wading pools made of foam covered by plastic with a phosphorescent sheen intersecting with each other at different orientations. Lines created from the construction define a larger surface and are similar to a “lofted� /digitally ruled form.

Digital Fabrications by Lisa Iwamoto presented designs to build and emerge practices with pioneer techniques. In the same manner, experimenting with fabrication processes on a relatively small scale with a do-it-yourself attitude. Digital modeling and fabrication is basically a design and production process that enables to combine 3D modeling with required additive and subtractive manufacturing. With the overall increase in demand for this particular aspect of printing, it is quite important to ensure that the overall uses and the benefits would determine the whole structure of the building.

In addition to that, there are also five types of digital fabrication techniques which are most popular, as mentioned earlier on. These include tessellating, sectioning, folding, contouring, and forming.

Detail A: William Massie, Playa Urbana, MoMA, New York, 2002.

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Reading applied to design Referencing from the lectures and readings, what is the implication of One of the possible methods that can be utilized for our Second Skin project to fabricate the said design was using the folding method. The design process is closely linked with using the panel and folding system introduced during the first week, in which we are recieving a two-dimensional piece from the fablab, but then transforming the pieces into three dimensional using the art of folding paper.

The other techniques such as sectioning and tesselation was not explored much in our Second Skin project. Instead of having designs that intersect vertically and horizontally to create new forms, our design showcases the flexibility and fluidity of using paper to create innovative and creative forms.

Transformable 3D folding panels allow us to designate geometrics along with the help of laser cutting methods to interconnect elements with each other.

Detail A: Prototype Experimented with two dimensional flat pieces and transforming them into more of a volume and 3d object through the help of folding

Detail B: Prototype Experimented with three dimensional item

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Detail C: Transformed Hexagonal Patterns

to demonstrate on how the art of folding can achieve complex

Limitless direction

figures with ease of fabrication.

3.5 Prototype development Moving on from our M2 design, issues like lack of structural integrity, poor connection between units and the material disadvantage were resolved. With the inspiration from the precedents, our final design informs the concept of creating a ‘safety bubble’ through the mechanisms of folding and layering of hexagonal units. The first layer of the skin is aimed to provide enclosure to the body and the second layer sets the distance between the user and the surrounding people.

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3.6 Prototype optimisation 1 These are a couple changes we made before the final prototype: 1) Redevelopment of form and structureThe design of the model explores around the ideas of layering, curvilinear surface, folding of panels and visibility. The form deviates from M2 as the units below the waist were irrelevant and not functional.

Hence, it was removed.

Detail A: Previous form of whole model

2) LayeringThe first layer was aimed to be opaque, closer to the body to conceal the curves of the physical female body - a common female insecurity.

This idea is further informed with the incremental enlargement of unit sizes approaching the chest area to offer more protection. With the hexagonal extrusions, the second layer primarily functions to set the intended distance of 40cm. Aside from that, the idea of visibility and transparency is vastly explored in this layer through the creation of polygons of different heights and size of cut outs. This depicts the intention of wanting to interact with people under a secured condition. Also, the play of transparency depicted through the cutouts represents how much we are willing to reveal or open up to others.

3) Material choices and performance The material for both layers was chosen to be Ivory card as it provides structural rigidity and at the same time, not losing the flexibility of forming a curved surface. It was initially used on the first layer and polypropylene was intended to used for the second layer to inform the idea of visibility and transparency. However, the burn marks of laser cutting on the units were apparent and hard to remove. Also, the etched lines were at the risk of snapping and it was hard to be folded.

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Detail B: Maintaining the conecpt idea of layering base hexagons with extruded units

Detail C: Burnt marks visible on the polypropylene used for Module 2 prototype

4) Fabrication of units The digital model was developed prior to the physical model. This allows the units of the physical model to be fabricated accordingly in the right scale. Each units of the first and second layers were unrolled and tabs are added to the sides of the cutting edge of the unrolled surface. They are then labelled based on their placements - starting from bottom to top in alphabetical order and then numerical order from left to right. With this system, the fabrication process is carried out systematically and efficiently.

Detail D: 6 Types of hexagons instead of previously 3 types of hexagons

5) Connection between unitsOne of the biggest challenge in M2 was the poor connection between units. Hence, it is resolved in our final design with the addition of tabs at the cutting edge of the units to strengthen the connection of both adjacent units of a layer and units between both layers. Consequently, this enhances the structural integrity of the model as a whole.

Detail E: Reinforcing tabs and connections between each units

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3.7 Prototype optimisation- Outer Layer Development 600.00

900.00

Prototype Version 2: Exploring the Ideas of Layering: Extruded Hexagons

Laser cut template: Manually created sized hexagon extrusion 600.00

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900.00

While we had more of success in unrolling surfaces from the inner layer, our rhino modifications for the outer layer was still in progress. This extentive testing shows the modular pattern of hexagons we tried to create using paper while taking measurements into account. With 4,6,8,10 and 12 cm respectively for each width of hexagon sides, we made a series of propotioned scaled models to test on how much it can extrude. The areas where we wanted to have the longest extrusion has reached up to 30 cm of height. .

3.8 Prototype optimisation- Outer Layer Development version 2 First zone: 5cm extrusion length of hexagons sitting on user’s upper shoulder as the smallest structural frame Second zone: 10-15cm extrusion length around the bust and upper stomach area to allow the transition of visibility of the moduels Third zone: 20-30 cm extrusion length around the stomach area , gradient of cut outs indicate the contrasting idea of wanting to interact with people but at the same time wanting to feel protected.

Fourth zone: 15-10 cm extrusion length Fifth zone: 5 cm extrusion length

Second layer Elevation: Hexagon Extrusion

Exploring the Ideas of Layering: Paper Weaving Patterns

Third layer Elevation: Weaving Extrusion

In order to increase the length of the physical model into 40 cm, we decided to manually draw several concept pieces to demonstrate the last layer in which the fabrication design will extrude for 10 cm. The weaving pattern will be placed only on the 30 cm extruded part on top of the stomach area.

The weaving was done using a smaller weight of ivory card around 200 gsm to allow movement, however was not satisfactory as the added design gave an obstructive view of the whole model rather than enhancing the extrusion idea from our personal space concept .

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3.9 Prototype optimisation F6

H1

F7

G1

H3

H2

G3

G2

H4

J6

G4

600.00

600.00

G5

H5

H6

H7

H8 G6

I1

G7 J5 J6

J5 J7 900.00

Revising versions of laser cut models with bigger tabs and divided into possible layer of A-N - Hexagons unrolled directly from the rhino unit - Placed according to layers for easy extraction from the ivory card template, sorting of the items and assemblage.

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900.00

Top Layer: N Bottom Layer: A

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3.10 Final Digitalisation Process 1. Surface is created through the lofting of a series of ellipses 2. The crease splitting command is used to remove the excessive creases and smoothen the surface.

3. Surface domain grid variable is then applied to create a system of grid points that sets 3. around the surface. The magnitude was adjusted to 5 so that the points would be further apart approaching the curve attractor.

4. Manage2DPatterns is then used to panel a hexagonal grid. a) The hexagon pattern is generated and the proximity between units are shifted in U and V direction to make sure its closely aligned. b) With this, the first layer of skin is panelled with hexagonal units at incremental sizes.

5) Centre points of these units are extracted through Grid Utility.

6) With the centre points, the height of the hexagons can be determined by drawing a line perpendicular to it.

7) Using Corner Points, the surface of the hexagonal units are generated and joined together.

8) Each layer of the skin is grouped under different layers to allow the fabrication process to be more systematic.

9) The second layer of the design is built by offsetting the grids at varied height.

10) Steps 5-9 are then repeated to generate the extruding hexagons for the second layer.

11) Cutouts of 6 different sizes are drawn on the surfaces, in accordance to the size of the hexagons.

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3.11 Final Prototype Model

Rear Elevation

Front Elevation

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Isometric Elevation

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Isolated View- First Layer Hexagon Base

Isolated View- Second Layer Hexagon Transitions

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Inner Layer Elevation: Opaque and close towards the form Conceals the curves of the female physical body

Outer Layer Elevation: Sets boundary and creates distance for personal space through the extrusions of hexagons

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3.12 Fabrication Sequence

Laser cut output Ready for assemblage models according to cuts and etch, sheet 01 out of 06

Assembling Components glued using UHU and Yamato Rice Paste

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Labelling According to each row panel placement on the body; layers A-N

Sorting Completion of half individual units stacked up besides another

Scoring Marking to fold the paper around the edges of both first and second layer of the form

Second Connection Adhering the two individual units using applied pressure of bulldog clips

Folding Creating a three dimensional fold and volume from upper and lower unit combined

First layer Stacked up units of the each layer glued upon the matching tabs and width of edges

Complications Burnt marks on the ivory paper as a result of the laser cutting machine

Cleaning 1 Burnt marks manually painted with acrylic, nail polish and white markers

Connections Base layers are staplered together for maximum securement from one module to next

Extrusion Making of the largest modules on the body which includes stomach and breast area

Finishing touches More paint for the upper side of the indiviual modules where burnt marks are apparent

Finished section Base and extruded layer with cleaned up edges

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3.13 Assembly Drawing

N

M L K

I

J

H

G

F

E

C

D

B A

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Inner Layer Assemblage Layers A-N

Layers J-N

Layers G-H

Layers M-N

Layers J-K

Layers A-H Most extruded part G-H

Layers A-G

Outer Layer Assemblage

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3.14 2nd Skin final design- Ambivert Projection

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Left Elevation

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Front Elevation

Right Elevation

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3.15 M3 Reflection

Our M3 design was created fully with the use of panelling tools, Rhino and unrolling of surfaces. During m2 we were still finding the inner and outer layer hard to unroll however surfaces to laser cut could not be generated with our complex form. We were satisfied with the form structurally as it starts from the neck and down towards the upper thigh, and the digital process of the second layer was complicated however has helped us to achieve the six different sizes of hexagons instead of three as what we had during module 2. This helped us to achieve transition from one sizes to another.

As a result of generating the whole from digitally as compared to fabricating the model first and then generating it in Rhino, we have spent our week on 3d modelling and less time on the physical model which shortened our chances of creating more prototypes.

As mentioned in the reading Lost in Parameter Space, within the context of 3D design, a model is often defined as an abstraction of reality. Having a perfect model does not necessarily need much information but should just contain the little data that is necessary for describing the properties of an object ambiguously.

We have learned to just focus on a smaller part of fabrication process instead of the goal we had earlier to cover the front and back part of the body.

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During fabrication, I find it easier as there was no more usage of polyprop which made the folding of the ivory card we use faster.

However, we still have to deal with two things mainly, and that was how to achieve the goal of 45 cm extension and how to get rid of the burnt marks left after laser cutting. Modelling in rhino, we thought that the whole fabrication would only extend to a maximum 30 cm, however the folding of paper has created an expansion to our model and the largest layer has concaved even further than we have wanted, creating the large distance and volume that we initially wanted. We still had a couple of centimeters to cover though, and impetously created ribbons that would help us cover the distance, without contemplating on the loss of aesthetic and elegance of the model. Furthermore, there were a fair amount of burnt marks and I had to manually paint them to maintain the cleanliness, which was time consuming.

By the end of the fabrication and assemblage, I realised that the smaller extruded hexagons does not differ much from the larger ones, the model had to be carried with the wearer and no place to sit on the body, which were also the criticisms we have recieved. However, I learned more about panelling tools and laser cut as comparison to module 2 and become more comfortable on creating complex designs using Rhino and perhaps, in the future, Grasshopper.

4.0 REFLECTION Subject: Design Addition and Reflection

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4.1 Reflection Concept Art

Front Elevation

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Rear Elevation

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4.2 M4 Reading Response The Third Industrial Revolution Drawing inspiration from the reading and your own learning from the last 10 weeks, described how digital technology has changes your view on design, making and the context of build environment?

Imagining Risk Evaluate your process of designing and making the second skin against the notion of Craft outlined in the reading. Have you include a degree of design risk in your work?

The third industrial revolution is underway and manufacturing is going digital. This is a shift from the first industrial revolution where the textile. As a result of the revolution, there is convergence of technologies such as new softwares, novel materials, advanced robots, three dimensional printing and a myriad of web-based printing. While being less time consuming, the overall costs of production and distribution have been cut down by modern digital technology and this is instrumental in making the build environment industry to grow.

Despite the fact that modern technology presents a level of certainty and norm, alternative outcomes are still interpreted and imagined. This is the risk aspect that has to be maintained in order to retain mediation between humans and the technology. Humans are always going after certainty and predictability and thus the heavy use of performance-based design software. Today, before a project is taken up, those in charge confirm its certainty and predictability because this has become an economic and social mandate. The design process has been affected by software that can model, simulate and optimize and before a project is undertaken, those in charge can virtually see its outcomes and this has become instrumental in deciding whether or not they should go forward with the project.

Our designs from Rhino has come to be realised in real life due to the help of laser cut and other modern technologies which assist in the reduction of costs and improve time management.

With Rhino, we can make changes to the digital model instead of having to create the model individually, as this will take endlessly and we won’t be able to assemblage a massive project with just the two team members. We can trial and error designs, and this new age of digital techonology has created the flexibility of students to be creative, amplified by the resources that is provided.

Our computer based design initially has a flaws, too complex and could not be unrolled thus we were petrfied of having to create the whole module manually without the help of laser cut. We also have tested the risk of materials by making sure that the whole form is rigid which supports the concept of personal space. The massiveness of second skin project becomes a sense of acknowledgement that personal space is needed from the wearer.

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4.3 M4 Reflection Finishing up the whole module, I have gained knowledge in terms of technical drawing, 3d modelling, fabrication and assemblage.

We have improved our digital design since m2 which had a lot of spaces in between the inner layer-making the whole form flaccid and could not be worn. The lack of space now and connections of tabs are what makes the hexagons and dictates the interplay of mechanical forces that allows our second skin project to be built and solid. The largest sets of hexagons appear at the middle area of the body and can also be observed as central gyration orders.

Our final model has issues because of the last minute addition we made (paper weaving patterns) and transition of the sizes of modules, however, I was still satisfied with the whole form generated from only two of us inside the team. I feel that the geometry of hexagons in the whole form is symmetrical with shapes that flow throughout and thus making the second skin quite aesthetically beautiful. The project is also designed in a similar pattern whereby the precedent Plato Collections runs in a silver dimension of photography and creates a smooth flow of the dress’ design, our project has transitions. The geometric benefits of the extruded hexagons create an architectural design that also expands to the distance we wanted and having clear straight sides of easier viewing instead of being asymmetrical and having an abstract shape.

For our final photography session, we have made a tiny improvement to indicate how it was going to be placed on the body by building some of the extruded hexagons on the backside of the neck- which is a response to the criticism we had in m3.

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5.0 Credit CREDITS Page Cover 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42

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Celina S Yaputra

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Yi Jing Tan

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5.1 Bibliography Dean, F. F. (2014). FABRICating FORM: Generating Three-dimensional Upholstery Amid Experiments in Process Driven Design (Doctoral dissertation, University of North Carolina at Greensboro).

Eilouti, B. H. (2018). Concept as the DNA for Morphogenesis: A Case Study of Contemporary Architecture. In Handbook of Research on Form and Morphogenesis in Modern Architectural Contexts (pp. 283-309). IGI Global.

Kolarevic, Branko (2003). Architecture in the Digital Age - Design + Manufacturing. London: Spon Press, c2003.

LebĂŠe, A. (2015). From folds to structures, a review. International Journal of Space Structures, 30(2), 55-74 Pottmann, H., Eigensatz, M., Vaxman, A., & Wallner, J. (2015). Architectural geometry. Computers & graphics, 47, 145-164.

Sommer, R. (1969). Personal Space. The Behavioral Basis of Design..

Scheurer. F. and Stehling. H. (2011) : Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 (4). July.pp. 70-79.

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