DIGITAL DESIGN + FABRICATION SM1, 2015 M4 REFLECTION_SKIN&BONE Liang Hu(Derek)
655015 Michelle Emma James_Seminar 1
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M1PROTOTYPE V1
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M1PROTOTYPE V1
“PIXELATION” SECOND SKIN PROJECT
BRIEF To design a wearable volume or surface that accomodates the body. The second skin will explore, measure and/or negotiate the boudary of personal space.
ABSTRACT Our project is about pixelating the personal space. The rigidity of the cube shape and the continuous flow of strings create the dual quality for the system which also corresponds to the rational and irrational nature of personal space.
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CONTENT
M1IDEATION 1.1 1.2 1.3 1.4 1.5
Mesured Drawing 3D Modelling Analysis Sketch Model 3 Ideas of 2nd Skin
M2DESIGN 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9
Design Proposal V.1 Precedent Study 1 Precedent Applied to Design Rhino Models of Design Proposal V.1 Design Proposal V.2 Rhino Models of Design Proposal V.2 Precedent Study 2 Prototypes / Precedent Applied to Design M2 Reflection
M3FABRICATION 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8 3.9 3.10 3.11 3.12 3.13
Review on M2 Precedent Study 3 Prototype V.2 Rhino Models for Prototype V.2 Connection joints Fabricating Joints Prototype V.3 Issues and Solutions Use of Strings / Connection Use of Strings / Effect Final Rhino Models Final M odel of 2nd Skin Project M3 Reflection
M4REFLECTION 4.1 4.2
Reflection Filming / Reflection on Final Model
M1PROTOTYPE V1
MODULE 1 IDEATION
ABSTRACT In M1, we explored “skin and bone� systems through observation and measurement on the lantern. A series of measuring methods had been used to achieve a higher degree of accuracy. Meanwhile, digital modelling was also used as an aid to help us understand the system and the mechanism. Based on the analysis, we abstracted the system logic from the lantern and built a sketch model to reconfigure the material system. We also came out with the very first ideas of second skin project.
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M1MEASURED DRAWING B
A
B PLAN
A
SCALE 1:5
ELEVATION AA
SCALE 1:5
I have used a series of different methods to measure the object. I found that the most precise way is to photocopy the object and trace it at the scale of 1:1. I used this method for plan and elevation drawing. However, this method was not applicable for section drawings and detailed component drawings especially. I used ruler and protractor during the measurement. The lantern comprises of 3 parts, a metal support, a timber frame and 4 pieces of paper.
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SECTION BB
SCALE 1:5
M13D MODELLING
The bone structure comprised of one continuous timber frame and a bent steel rod which strecthed the lantern into its maximum extension. While making the rhino model on lantern, I imported the elevation and plan drawings and traced over them. “Pipe” command was used for timber and steel frames while “sweep rail” command was used for the paper skin.
BONE STRUCTURE OF LANTERN
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M1ANALYSIS
The lantern was very flexible along the vertical axis.
With the physical measuerments and graphic analysis of lantern in week 1, I had a better understanding for the skin and bone system. In the lantern, the timber frame was the primary support for the paper skin but the paper restricted the horizontal shifting of frames which also stabilized the structure. Both skin and bone functioned as structural elements to hold up the structure. However, the horizontal movements and shiftings were not allowed in the lantern which I found could be further developed in the next stage.
However, the rectangular base of the lantern was very strong and rigid, horizontal shifting was not allowed.
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M1SKETCH MODEL
The sketch model was inspired by the skin and bone structure of lantern. The bones and skins held each other to maintain the shape and also achieve flexibility. I deconstructed the lantern and rearranged the structure in different shapes to explore the relationship between the timber frame and fabric. With the combinition of skin and frame, model is rigid and flexible at the same time.
My idea was to make it flexible in multiple dimensions by using the skin and bone system which also maintain the stability of the structure.
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M13 IDEAS OF 2
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SKIN
STRETCHED
The joints allowed the structure to be transformed into different heights and shapes. This model can be used for different protections under different situation and with various needs. Visions were also partially blocked to avoid direct eye contacts which provided senses of privacy and protection.
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COMPRESSED
The invisible boundaries of personal space also vary along different parts of the body. The second skin creates more spaces in front of the head and chest, set the boundaries futher away. The structure is adjustable and can be expanded in different dimensions to provide protection when the user feels uncomfortable.The structure was inspired by the use of a frame to support a flexible material which gives a volume.
STRETCHED
COMPRESSED
The concept of panelling were used in this model. It comprises of a repitition of simple geometric shapes. The adjustable joints at the shoulder make the structure flexible which allows the user to have more freedom. It was inspired by the adjustable mechanical joints.
M1REFLECTION
The lantern was given as my object in this module. I used a series of different methods to measure the object. Elevation and plans were measured by photocopying the object and tracing over. It was the most accurate and efficient way of measuring as there would be no problems such as lens depth and focusing issues in photography. However, this method was not applicable for sections and detailed drawings. I used ruler and protractor during these measurement. For the inside details, I photographed them with a small aperture setting on camera to get all the details clear. According to Heath et al. (2000), this kind of measurement with multiple methods would help achieve a higher level of accuracy. I felt that M1 was a great start for the course. During the measuring and analyzing process, I learnt to break down the complicated objects into smaller fragments and study each fragments individually. This allowed me to have a better understanding of the logic behind the object. In this case, through physical measurement, digital modelling and deconstruction, I attained a better view of “skin and bone� material system of the lantern. On the other hand, during the reconfiguration, I transmitted the logic of the lantern into a different ways but with the similar concept of the material system.
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M1PROTOTYPE V1
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M1PROTOTYPE V1
MODULE 2 DESIGN
ABSTRACT Based on the 3 initial ideas of second skin project in M1, we worked as a group to explore more on the material system and experiment on the visual and emotional effects. The design development included getting inspirations from precedent researches; digital modelling on 3D software as a context; and making prototypes for performance test.
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M2DESIGN PROPOSAL 1 This sketch model consists of extended ribs which are part of the ‘bone’ system. These ribs are different in sizes and shapes which accomodate my personal space boundaries. The ribs set up the space while the thread-like skin adds volume and visual dynamism. The thread also functions to stabilize the structure by restricting the ribs from horizontal shifting. The right and left ribs are two separate modules which allows for movement. Different volumes are created when they open and close and this could relate to personal space boundaries shifting under different circumstances and emotions. PERSONAL SPACE DIAGRAM
STRUCUTRE OPENED
STRUCUTRE CLOSED
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M2PRECEDENT STUDY 1
Sou Fujimoto uses simple geometry to create this visually dynamic installation. There is an idea of uniformity reflected by the repetitive stacking of cubes, but also, a sense of contrast brought forth by the varying scales. The suspeded nature of the overall composition adds greatly to the spatial and emotional effects of the structure. In terms of construction, it is made of a steel frame structure with hand-cut aluminium sheets as the skin (Dezeen, 2014). Light and shadow effects are also explored in this installation through composition and materiality. The aluminium ‘skin’ reflects light accordingly to sunlight exposure, creating different light and shadow compositions throughout the day (Zara, 2014).
“Many Small Cubes” by Sou Fujimoto (2014)
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M2PRECEDENT APPLIED TO DESIGN
ORIGINAL PERSONAL SPACE MAP
PIXELATED PERSONAL SPACE MAP
Inspired by the “Many Small Cubes”, we came out with the idea of “pixelating personal space” by breaking down personal space into pixels and using the repitition of cubes to feature personal space. As we know, the personal space had an organic and irregular profile which accomodate d to the body shape and varying sensitivities. However, we used cubes, a rigid and regular geometry, to represent the dynamic shape of personal space. The visual contrast it created, would become a powerful feature of our design. The “pixelation” also allowed us to measure and articulate personal space in a more specific way.
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M2RHINO MODELS OF DESIGN PROPOSAL 1
PERSPECTIVE
SIDE VIEW
ELEVATION
PLAN
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M2DESIGN PROPOSAL 2
In the next stage, we cooperated with the sizes of the cubes to set up different volumes and visual impacts to accomodate sensitivity. The varying dimensions (96*96*96mm & 192*192*192mm) signified a sense of ‘irregularity out of regularity’, which also portrayed personal space as a matter that was not necessarily uniform.
SKETCH DESIGN
SIDE VIEW
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PLAN
ELEVATION
PERSPECTIVE
M2RHINO MODELS OF DESIGN PROPOSAL 2
PLAN
SIDE VIEW
FRAME DETAIL _ PERSPECTIVE
ELEVATION
PERSPECTIVE
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M2PRECEDENT STUDY 2 LIGHT
COLOUR
OPACITY
MATERIALITY
SOLIDITY
Higher sensitivity
Lower sensitivity
CONCEPT DIAGRAM
Hadid’s Burnham pavilion comprises of an elaborate steel framing which is then overlaid with a fabric ‘skin’ that gives solidity and volume to the overall structure. The ‘skin’ also acts as a screen where digital images and lights are projected on. This particularly contributes to the emotional effects of the design as users will be able to develop different experiences when viewing the moving images, or even when standing in a space that is illuminated differently. Derived from that, we explored on the emotional effects and sensitivities by incorporating different light intensities, colours, opacity, materials or even the manipulation of the skin’s solidity.
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“Burnham Pavilion” by Zaha Hadid (2009)
M2PROTOTYPES / COLOUR
COLOUER
We first played with colours to introduce a sense of movement in our 2nd skin project. We used different shades to reflect different levels of sensitivity. Although this method does convey our ideas, we thought it slightly lacked sophistication.
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M2PROTOTYPE _ SOLIDITY / PATTERN
SOLIDITY / PATTERN
This time we used different patterns on each face of the cube modules to depict different solidities. The surface materials gradually decrease and this could give a sense of moving from a sensitive to a not so sensitive area. The shadow effects are also quite appealing as they too reflect the skin’s varying solidity.
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M2PROTOTYPE _ OPACITY / MATEIRALITY
OPACITY / MATERIALITY
As we went on further exploring ways to depict movement within our design, we came to experimenting with shadow effects. Again drawing from Fujimoto’s “Many Small Cubes”, light and shadow could be an essential design feature. We particularly like the different shadow effects that is produced by using these three different materials.
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M2REFLECTION Digital modelling tools were extensively used in the design development in this module. It helped us to visualize our concept three-dimensionally and also transmit our ideas in a more detailed and sophisticated way. In the reading “Lost in Parameter Space”, Scheurer and Stehling (2011) elaborated on the ideas of abstraction and reduction in digitized technological world. Abstraction denoted simplifying the information while reduction suggested using an optimal way to transport the same idea. We were influenced by both concepts during the designing process: in the previous module, we used the “Abstraction” idea to break down the lantern to simplify the information which allowed us to comprehensively analyse the object; The “Reduction” idea was used while we reconfigure the material system and used simililar logic to build our own sketch models; In this module, we eliminated some of the non-essentials in digital models in order to transmit our main ideas more clearly. The typology of ‘prototype’ was introduced in this module which exemplified the power of making. Quoted from Daniel Charny, “Making is the most powerful way that we solve problems, express ideas and shape our world”. In lecture 5, Paul described prototypes as perfomative tests and models as presentational tools. In our module 2, prototypes functioned well to help us examine the visual and emotional effect that we wanted to achieve. This was something that digital modelling could not do. Moving on to Module 3, more prototypes would be made for both idea development and performance testing. We would need better cooperation between digitized design development and hand making process. Precedent study was another useful process for our module 2. At this stage, coming out with our own ideas was always very hard. The precedent studies gave us inspirations and broadened our vision. Learning from precedents was not about copying the shape but following the similar concept, the way they interpreted the problem as well as the thinking process. This would be another useful tip for my future design studies.
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M1PROTOTYPE V1
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M1PROTOTYPE V1
MODULE 3 FABRICATION
ABSTRACT Based on the ‘pixelating personal space’ ideas, our group did further experimentations on the effects and mechanisms through further iteration of prototypes. More precedent researches were used as a guide for our project. The final model second skin project was made in this module through digital fabrication.
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M3REVIEWS ON M2
Review on M2: During the M2 presentation, Paul commented on the chanellges we had made by putting the round shape human body into the cubic structure. The system did not follow the body shape very well which gave a chunky and unconfortable looking. Meanwhile, the structure was not articulated well in terms of the skin and bone system. The frames were too dominant both visually and structurally. The relationship between skin and bone could be further developed. However, the feedback on our idea of pixelating personal spaces was positive and we thought that the issues of using cubes could also be the opportunities if we managed to solve them. During the presentation, Paul suggested Jacob’s ladder and michelle sent us some precedents few days later. These suggestions and precedents broadened our views and showed a lot possibilities on our design development. As a result, in Module 3, we would still use the “Pixelation� idea, and keep working on the overall forms, specific joints and mechanisms. Meanwhile, the relationship between the skin and bone would be reviewed.
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M3PRECEDENTS
“Plato’s Collection” by Amila Hrustic
We looked for more precendent researches after M2. We realized that instead of using rigid grid-like structures, giving a sense of rotation and distortion to the structure might work better. This would allow the rigid structure to effectively conform to human body.
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M3PRECEDENTS
Jacob’s ladder
The Jacob’s ladder was introduced by Paul during the M2 presentation. The joints between the cubes allowed effective rotations which resulted in a more flexible structure. It also created a very natural flow with the gravitational pull which we thought would allow our structure to sit comforably on the body
‘The Cube’by Mina Lundgr
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M3PROTOTYPE V2
We used straws for the construction because they were flexible and easy to work with. Cubes were connected only on the conering edges, allowing for the movements and each separate cube. This allowed the X-shape prototype to confine the human body and accomodate to the body movements.
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M3RHINO MODELS
PERSPECTIVE
ELEVATION
PLAN
SIDE VIEW
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M3CONNECTION JOINTS
We then experimented on the materiality of the joints. PVC was originally our first choice because of its rigidity and transparency. But it became very crispy and started to break when we tried to bend it into a 3 dimensional arm shaped joint. We explored on the connection joints, and made the joints prototype by cutting and folding the straws in larger sizes which became our first joint prototype.
PVC
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POLYPROPYLENE
Polypropolene was an ideal material for the joints because of its suitable hardness that would hold the structure steadily and also its flexibility that allowed bending.
M3FABRICATING JOINTS
Lasercutting the joints saved us a lot of time and it helped us achieve precision and uniformity of each joint. It also helped us understand the properties of materials as there are restrictions to what could be laser cut and what could not. Polypropolene is available in different colours and this broadened our design scope as we came to the decision to incorporate black and white joints. The reason for this was to denote the assemblage pattern of our final design.
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M3PROTOTYPE V3
While making the prototypes, we jointed the cubes with masking tapes to allow for easy unassemblage and adjustment.Cubes were only connected at the conering sides which allowed more flexibility and rotation.
We felt that the cubes we used in the previous prototype (200*200*200mm) was too large. Therefore we halved the dimension of each side of the cube to make it smaller which would be more effective in pixelating personal space and also confine to body shape better.
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M3PROTOTYPE V3
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M3PROTOTYPE V3 Inspired by the transformation of the Jacob’s ladder, we came out with this idea of ‘everything being unfold from a large cube and could also be folded back to the cube’. This also served as a visual representation that the 64 pixels being unfold from a solid giant structure, flowed and distributed along the body which created volumes and defined personal spaces.
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M3PROTOTYPE V3
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M3FINAL PROTOTYPE DEVELOPMENT _ ISSUES AND SOLUTIONS
REINFORCEMENT ON THE JOINTS
Making physical prototypes helped us to find some issues on the structure which could not be found during digital modelling. Some of the joints were easy to come out due to the weight of the structure, we used strings to reinforce the joints.
The cubes near the neck and chest were distorted because it was the place that the structure touched the body. The weight of whole structure was exerted on these cubes. As a result, we reinforced these cubes by horizontally jointing them to form a ring around the chest area to maintain the shape and stabilize the structure.
DIFFERENT COLOURS OF JOINTS
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We used black and white joints as a guide during the folding and unfolding. This helped us to visualize how the folding and unfolding would be like while make prototypes and also functioned as an indication which allowed us to quickly unfold and assemble the cubes during the future presentation.
M3USE OF STRINGS / CONNECTION
Same colours were used for the joints that would be in touch when the structure folded to the big cube.
ARMS ON THE SIDES
Masking tapes were replaced by the strings for the final model. One continuous string connected the cubes on the edges which effectively hold the cubes and provided flexibility at same time. We experimented with different folding patterns to achieve a better visual representation on the personal space. The ‘arms’ at front and back had different patterns from the ones on the sides. This is not only because of the difference in the volumes that being created but also the folding and unfolding process.
ARMS AT FRONT AND BACK
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M3USE OF STRINGS / EFFECT
Strings also functioned to denote different sensitivities denser strings, higher sensitivity. This idea was derived from the ‘opacity’concept in M2. In this case, the upper part had higer density of strings indicating the more sensive chest areas while the use of strings decreased towards the bottom. The changing spacings also provided a visual emphasis on our design.
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M3FINAL RHINO MODELS
PLAN
AXONOMETRIC VIEW
SIDE VEIW
ELEVATION
CONNECTION JOINTS (POLYPROPYLENE)
STRAWS (100MM)
UNFOLDING THE BIG CUBE
EXPLODED VIEW
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M3FINAL MODEL
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M3FINAL MODEL
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M3FINAL MODEL OF 2
ND
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SKIN PROJECT
M3FINAL MODEL OF 2
ND
SKIN PROJECT
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M3REFLECTION We came a long way from our module 2 to module 3. During the design development, we did further researches on the precedents for inspirations on the idea generations as well as the physical structure. We analyzed them comprehensively and these precedents effectively broadened our visions and changed our perceptions on how to cooperate the rigidity of cube and the organic body shape. Other than that, we also built a lot more prototypes than module 2. Issues were found and solved through the prototyping process. In the reading “Digital Production�, Branko Kolarevic (2003) elaborated on the relationship between the virtual designs on digital software and real life production. Mentioned in lecture 7, the use of CATIA (Computer Aided Three Dimensional Interactive Application) by Frank Gehry in the 1980s for his work, particularly Guggenheim Museum Bilbao in Spain, was an important move for the revolutionary shift from traditional design method to digitized design process, which was also indicated in Kolarevic’s reading. In Module 3, we cooperated with both digital modelling and physical prototypes during the design development. Prototypes played a pivotal role in the design process as they functioned as performance tests for the structure, particularly joints and mechanisms. This was crucial because it could never be tested in the digital models. However, digital models provided a very detailed visualization on the project which could not be achieved during hand-drawn sketches. Digitized designs also created more possibilities to our design scheme. Cooperating with digital fabrication, digital modelling unrolled 3D digital models into 2D flat surfaces for laser cutting, and then folded back to 3D physical models. The cooperation of digitized input and physical output helped us to efficiently build our final models with high degree of accuracy and precision. As a result, I felt that even though the digitized designs were getting more popularities nowadays, the cooperation with handmade models and real life productions were still very important throughout the entire design process simply because making was the best way to solve problems and express ideas.
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M3FABRICATING SEQUENCE
UNROLLING SURFACE IN RHINO
LAZER CUTTING JOINTS
ASSEMBLYING 64 CUBES TO A BIGGER CUBE
WORKING ON FRONT ARM PATTERNS
HOLE PUNCHING ON JOINTS FOR REINFORCEMENT
ASSEMBLYING FRONT ARMS
WORKING ON SIDE ARM PATTERNS
FOLDING JOINTS FROM FLAT SURFACES
ASSEMBLYING CUBES
REINFORCING JOINTS BY USING THREAD
STARTING WITH RINGS AROUND NECK
ASSEMBLYING SIDE ARMS
USING THREAD TO CREATE EFFECT
FINAL MODEL
M4REFLECTION MODULE 4 REFLECTION “Digitizing� had become the common trend for the design industry since the late 20th Century. Branko Kolarevic (2003) described the trend as a revolutionary and also an inevitable shift. To me, digital modelling did not just function as an alternative tool of traditional design. Instead, it revolutionized the conventional design concept and brought the design capability to a new level. Throughout the semester, we had been using digital modelling tools extensively which comprehensively influenced our project in terms of both visual impact and manufacturing. Being able to make 3D models in Rhino helped us to visualize our initial design concept in a three dimensional context. It created more possibilities on the design outcomes as we could directly work and adjust on the 3D models. Some digital tools such as paneling tools and grasshopper even allowed us to create extremely complex geometries that could not be simply visualized by hand-drawn sketches and handmade models. This resulted in a very interesting relationship between what we thought and what we actually produced in computer. For instance, in module 2, we created a massive structure out of some very simple concept sketches. Rhino model was not just a representational method but more importantly an idea generating and refining tool, which mentioned by Rifkin and Macmillan (2011), the digital modelling had changed from an output to an input.
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Other advantageous features of designing and fabricating digitally could also be found throughout the entire project. In the earlier stage of M3, the handmade prototypes of connection joints had varying dimensions although we made them very carefully. Other than that, manually making them was also very time consuming. However, by unrolling surfaces in rhino models and laser cutting them, we achieved a much higher level of precision and uniformity on our final model. We also saved a lot more time by fabricating them digitally: we had total 512 joints in the structure and digital fabrication made our design possible. In the reading “The Third Industrial Revolution”, Rifkin and Macmillan (2011) outlined some advantages of using digital fabrication over traditional manufacturing. They suggested that the digitized manufacturing was more energy efficient as the process only required 10 percent of the raw material expended in the traditional production. This would allowed the fabrication process to be more efficient and sustainable by drastically reducing the material resources and therefore dropping the cost. However, although our digitized design process was very fluid and fruitful, I still found the crucial role of hand making throughout the project especially in M3. We were quite struggled in M2 when the typology of “prototyping” was firstly introduced. Our M2 work was heavily relied on the digital modelling without much physical prototypes to test the performance of the structure. This resulted in that giant chunky structure in our M2 which was described by Paul as “too ambitious on the giant framing structure”. Lacking of testing and adjusting the structure physically restricted and slowed down our design development. However, based on feedbacks given in M2, we shifted our focus from digital modelling to prototype making in M3. To us, that shift was “revolutionary” as we started to adjust and design based on the physical models and prototypes which had more real life properties such as materiality and real time connection issues. These were the features that digital modelling could not achieve and these were also the reasons why the cooperation of real life manufacturing and the digital modelling was so important.
Although we had been working on module 2 and 3 for the most time of the semester, module 1 was actually my favourate module and it refreshed my perceptions of the built environment. M1 was a perfect exemplification of Scheurer and Stehling’s (2011) idea of abstraction and reduction. The abstraction idea was used when we were examining the object during the earlier stage of M1. Through observation and measurement, we broke down the lantern into smaller fragments with each fragments containing simple information. This helped us to analyze the material system much easier. In the second stage of M1, we used reduction concept to reconfigure the object by arrange those fragments of information in a different order. The entire process had a huge influence on me as I started to “deconstruct” the complicated object in real life and understand the logic behind it. To me, most of the real life objects had become a repetition of simple fragments containing simple and repetitive logics.
M1PROTOTYPE V1
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M4FILMING / REFLECTION ON FINAL MODEL For the week 12 filming, we sew more strings on the side arms for stronger visual effect and on the connection joints for more reinforcement. Our final design comprised of 64 cubes as the bone and the strings as the skin. As a “skin and bone structure”, the cubes set up the volume and provided the base structure for the strings while strings functioned as a connection between the cubes which stabilized the structure and also as a restriction for any unwanted movements. Throughout the design development, we kept working on the visual contrast of our design which was mainly created by the dual qualities it had. The rigidity of the cubes and the continuous flow of strings outlined the concepts of “skin and bone” material system. The regularity of the initial bigger cube and later the natural flow on the human body signified the dual nature of personal space: rational and irrational, quantifiable and unquantifiable. We planned our filming in a way that the personal space, as a pixelated matter, was being unfold from a cube and could be fold back to that cube again. By doing this, our personal space was visualized and quantified in the 3 dimensional world.
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BIBLIOGRAPHY
APPENDIX
Heath, A, Heath, D, & Jensen, A 2000, 300 years of industrial design: function, form, technique, 1700-2000, Watson-Guptill Publications, New York, USA. Kolarevic, B 2003, Architecture in the digital age: design and manufacturing, Spon Press, London. Rifkin, J 2011, The third industrial revolution, Palgrave Macmillan, New York, USA. Bernstein, P & Deamer, P 2008, Building the future: recasting labor in architecture, Princeton Architectural Press, New York, USA. Miralles, E & Pinos C 1994, How to lay out a croissant, En Construccion, Spain. Sommer, R 1969, Personal space : the behavioral basis of design, Prentice-Hall, Englewood Cliffs, New Jersey. Ching, FDK 1990, Basic orthographic methods from drawing a creative process, Van Nostrand Reinold, New York, USA. Pottman, H, Asperl, A, Hofer, M & Kilian, A 2007, Architectural geometry: surfaces that can be built from paper, Bentley Institute Press, Exton, Pennsylvania.
IMAGE SOURCES ArchDaily 2014, Sou Fujimoto stacks aluminium boxes to form “nomadic” house installation in Paris, viewed April 2015, <http://www.archdaily. com/561811/sou-fujimoto-constructs-inhabitable-nomadic-structure-for-parisian-art-fair/>. Dezeen 2009, Burnham Pavilion by Zaha Hadid Architects, viewed April 2015, < http://www.dezeen.com/2014/10/22/sou-fujimoto-many-small-cubesinstallation-paris-jardins-des-tuileries-fiac-art-fair/>. Hackett, J 2009, Zaha Hadid’s Burnham Centennial pavilion, still under construction, viewed on April 2015, < http://www.chicagoreader.com/chicago/ zaha-hadids-burnham-centennial-pavilion-a-big-aluminum-hot-potato/Content?oid=1152748>. Zara, J 2014, Sou Fujimoto launches new French follies, viewed April 2015, <http://architizer.com/blog/sou-fujimoto-launches-new-french-follies/>. Dezeen 2010, Plato’s collection by Amila Hrustić, viewed May 2015, <www.dezeen.com/2010/11/23/platos/collection/by/amila/hrustic>. Lancia Trendvisions 2012, The cube by Mina Lundgren: a dialogue between body and geometry, viewev May 2015, <www.lanciatrendvisions.com/ en/article/the-cube-by-mine-lundgren-a-dialogue-between-body-and-geometry>.
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CREDITS
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