M4 Journal

DIGITAL DESIGN + FABRICATION SM1, 2016 ARMA-D

ALEX SHEN, CHUN YU NG, KAYLYN YEONG YEE 835270 MATTHEW GREENWOOD #8

Measured Drawings

Digital Model

Isometric

Much like a fan, the folder expands by stretching the top of the sheet while the base remains relatively unchanged. This results in a polar array that is fully flattened at its edge while maintaining folds at its centre.

A flat sheet of material can be scored at even intervals to form this kind of expanding screen. As the screen is stretched, the segments separate horizontally. As the internal angles increase, so does the volume offered by the folder.

Although this method of expansion creates sizable volumes and wide openings for the folder, the shape of stored objects is restricted by the converging sides of the folder. Ultimately, this design does not allow for storage of bulky items.

Although this method of expansion creates sizable volumes and wide openings for the folder, the shape of stored objects is restricted by the converging sides of the folder. Ultimately, this design does not allow for storage of bulky items.

Sketch Model

After gutting the folder, I explored methods for manipulating the flexible material. As expected, the material only permits bending in 1 plane at a time. Upon wrapping the material around itself, I glued it at the edges to form a complete structure.

Due to its curvature, the once-straight separators formed a series of spirals not unlike those found naturally in shellfish. Furthermore, due to the depth of each space, light will only be transmitted through the model at certain angles. This is an effect I would like to explore further when constructing the second skin.

Quartz Crystal

Building upon perforated triangular panels, Crystallisation forms a network of holo volumes.

Access to personal space is denied yet viewing is permitted from some angles.

It would be fair to say the inspiration of “Crystallisation� originated in chemistry.

Envisioning a volumetric yet cavenous skin reminded me of matter itself. Though matter is often opaque and offers resistance to forces, the very building block of matter, the atom, consists almost entirely of empty space. The same can be said of our personal space. Though we have vague boundaries for our comfort zone, in the end it is mostly just void. Like crystals, this skin seeks to allow transmittance of light while preventing any intrusions to its volume.

Expanding upon that inspiration, I envisioned a more elaborate version built upon sliding scales. If the mechanism can be perfected, the user could quickly deploy the screen of scales.

Whilst thinking about the expanding folder, I realised I could produce a simple pull-up screen with some folded sheet material and a frame.

The “Absolute Defence” focuses on protection for the user. Like how a turtle isn’t always retreated to its shell, “Absolute Defence” is only deployed as the user feels threatened. Our personal space is fluid, affected by many external factors. This skin acts as a screen to insolate the wearer from his surrounds.

My view is that the ultimate panel/fold skins must exhibit a mechanism to expand and contract, maximising the appeal of the system.

Honeycomb structure.

Regular. Strong. Simple.

“Opacity” explores the relationship between personal space and intimacy.

Personal Space Diagram

“Opacity” is a concept which explores radiating personal spacial perception. Obvious as it seems, personal space becomes more intimate as it approaches the body. As an intruder comes closer, we become increasingly uncomfortable until physical contact is made.

By utilising 3 different lengths of honeycombs I seek to explore the different implications of each distance. The longest honeycombs will feature a transparent end, while the medium length features a translucent cap. Finally, the shortest ones will be finished with a fully opaque cap, indicating that any further advances will not be tolerated.

M1 Critical Analysis

With M1 due so early in the semester, it felt as if we were still warming up the design process. While I considered the contents of M1 to be mostly an introduction to our later work, the exercises presented us with a potential approach. The breakdown of design via technical drawings acted both as practice and as an alternate perspective to design thinking.

Personally finding the instructions for the journal too vague despite its many instructions, I failed to produce an impressive journal in week 3. With the impression that the sketch designs were merely preliminary, I neglected my brainstorming for too long and as a result failed to produce high quality drawings. The formatting of the journal was likewise confused and unprofessional, leaving me with a poor start to the semester.

Despite the early setbacks of M1, many of the effects from my sketch designs managed to not only bypass M2 but remain intact in the final M3 model. Being something I’ve only noticed when producing the M4 journal, I was reminded that design intentions can be carried on even unconsciously.

M2 Critical Analysis

Being the main prototyping stage, M2 focused on creating a full-scale prototype for a section of our final design. While M2 was supposedly the main design stage as well, most group had shifted radically from their prototypes by the end of M3. As our patternisation was retained through M3, our prototype can be classified as an abstraction of our final design. This abstraction allowed us to demonstrate the core features of our design while only showing a small part. The difference between our approach and others who followed reduction is that our base design and actions translated directly into M3.

My group produced many prototypes during M2, experimenting with different folding patterns, materiality, lighting effects, reflections and even dynamic mode-shifts. Through many intriguing designs were generated, the issue of viability constantly clouded my thoughts. Though cliched, we chose to pursue the coolest looking design.

Having already decided upon our main theme of denial, we experimented with possible methods of achieving it. Though the rotation sounded convincing in achieving isolation, I had doubts about the structural integrity.

It was clear that some changes were needed to facilitate the desired volume.

M3 Critical Analysis

Although we produced a set of desirable effects and mechanisms through M2, we made few advancements in implementing them during M3. As I discussed in the reading response section, our approach was far more hands-on and experimental than the expectation. Though this polished our model making abilities and provided valuable insight, there existed a variety of risks.

As with everything, the constraint of time was detrimental to further explorations.

Faced with uncertain success, we debated the practicality of adopting a digital-first approach. We soon discovered that with less than 2 weeks left it was foolish to abandon our semester’s work with no assurance beyond that of a design less impactful.

During M3 there existed little security for both wallets and model until the first full-size prototype was finally completed. Even then problems with material integrity and neatness plagued our project. With little time remaining, strict deadlines were set and the group worked tirelessly to complete our final model.

Despite drawing the ire of some with our fixation on a physical-first approach, I believe the visual impact could not have been paralleled through panelling tools given our limited timeframe.