Hermione Hines m4 by Hermione

DIGITAL DESIGN AND FABRICATION SEM1 2017 M4 JOURNAL DISTORTED REFLECTIONS REALISING AMBIGUITY Hermione Hines 835035 Studio Six: Sia Malek

CONTENTS

1.0 IDEATION 1.1 OBJECT 1.2 OBJECT + SYSTEM ANALYSIS 1.3 DIGITAL MODELLING 1.4 DESIGN THINKING 1.5 VOLUME THROUGH PANEL AND FOLD 1.6 VOLUME 1.7 SKETCH DESIGN PROPOSAL V1 1.8 SKETCH DESIGN PROPOSAL V2 1.9 SKETCH DESIGN PROPOSAL V3 1.10 M1 REFLECTION 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8

DESIGN DESIGN DEVELOPMENT INTRODUCTION CONCEPT DIGITIZATION + DESIGN PROPOSAL V1 PRECEDENT RESEARCH DESIGN PROPOSAL V.2 EXPLORATION OF JOINTS PROTOTYPE V.1+ TESTING EFFECTS M2 REFLECTION

3.0 FABRICATION 3.1 FABRICATION INTRODUCTION 3.2 DESIGN DEVELOPMENT & FABRICATION OF PROTOTYPE V3 3.3 DESIGN DEVELOPMENT & FABRICATION OF PROTOTYPE V4 3.4 DESIGN PROCESS 3.5 V4 FINAL PROTOTYPE DEVELOPMENT 3.6 V4 DESIGN PROCESS DEVELOPMENT 3.7 FINAL DIGITAL MODEL 3.8 FABRICATION SEQUENCE: 3.9 ASSEMBLY DRAWING: 3.10 COMPLETED 2ND SKIN 4.0 REFLECTION 5.0 APPENDIX 5.1 CREDIT

1.0 IDEATION

1.1 OBJECT

My ideation phase began with a conventional measuring process with the aim of expanding understandings of materiality and the properties of my object concerning panelling and folding. The metal extendible mirror attachment was a material system which informed my ideation phase as an example of digital theory in fabricated form; it is a series of parallel lines multiplied across a surface to create intricacy through extension and contraction. This measured drawing aided me in observing every detail, and put me through the mental and physical activity necessary to understand “why the object is right” (Heath et al. 2000). In order to create my set of measured drawings, I used a variation of techniques. I firstly traced the main outline of my object directly onto tracing paper in order to accurately draw the object’s silhouette. I then used a combination of following the outline of the object left on the photocopy (Miralles 1994), as well as manual measurements, using a steel ruler, to draw the rest of the object and further gain a sense of the object’s scale. These dimensions were then projected onto the drawing. These procedures were successful and efficient because the size of the object allowed for the creation of the drawings at 1:1 scale. Experiencing the object by direct contact and thus recoding it in full size allowed me to not only evaluate its form, but also question its material (how and why) and to relate it to other similar products – I tried to place it in its technological context to expand my thinking about its potential for design (Heath et al. 2000).

1.1 OBJECT PERSPECTIVE SCALE 1:2

As the overall structure is man made with the lack of natural and organic shapes and elements, to draw it in plan and elevation was a simple task, and I placed importance on clean lines and displaying the function of the object. To accurately draw the object, I used tracing paper and the notion of symmetry as a technique – I could measure and draw the individual pattern of one half of the shape onto transparent butter paper, and then flip the other side over to comparatively copy the other half. Through measurement I discovered how the relatively simple mechanism, although strong, is flexible in one direction as the repetitive ‘X’ pattern creates the surface by folding, expanding and contracting.

1.1 OBJECT ELEVATION SCALE 1:2

1.1 OBJECT

The shape and joining of the metal material enabled folding, extension and compression of the form, from the span being as small as 6.5cm (15cm in height) when fully closed, and 53.5cm (3.5cm in height) when fully open. Perhaps the most interesting component of this, was the manner in which each movement of one element informed the movements of the other elements, in a uniform and symmetrical way, through attachment. Furthermore the advancements of shifting angles and lengths in the configuration furthered the visual complexity, as well as creating dynamism through movement. The shape of the elevation changed relative to the angle changes, as the bigger the middle angles the smaller the shape contracted to, and the smaller these angles, the longer the shape was (as well as seeing all of the members in this view).

ELEVATION SCALE 1:1

1.1 OBJECT ELEVATION SCALE 1:1

ELEVATION SCALE 1:3

1.2 OBJECT + SYSTEM ANALYSIS

DETAILS SCALE 1:1

Desconstruction of the model itself - parts of model display its simplicity and helped me to further understand why each element was configured a certian way and how these unique aspects aid in the function of the overall structure.

1.2 OBJECT + SYSTEM ANALYSIS Through analysing the object critically and systematically through the process of sketching, I begin to recognise its individual system as well as project its other potential complexities. Mirailles wrote about the unfolding and analysing of a croissant with such intricacy and articulateness, so as to suggest the complexity that endures below or within the surface of an object (Miralles & Pinos 1988). I applied this notion to the extendible mirror attachment and it became evident that the panel and fold section of my object, lying in the 8 straight member-like components placed in a repeated ‘X’ formation side by side are like a projection of one another. The structure expands and collapses in on itself in synchronisation and the smooth surface texture of the metal allows for its sliding ability. The members that are angled at parallel positions in relation to one another, move away from each other as the object extends. Yet on the horizontal axis, the members that are attached at the middle through the function of the slip joint, become closer to one another in this same pulling motion. The 14 slip joints at the ends and middles of the ‘X’ formations with their pivot point functions, rely on the movement and friction between two members attached, thus allowing for the smooth movement (increase and decrease their closeness to one another) and strong attachment of the entire structure.

Sliding/hinge joint system

180 degree rotation

DETAIL SCALE 2:1

DETAIL SCALE 2:1 Pivoting actions of the 8 flat members shown as the structure expands

The sliding action of the structure in its transformation, is further enabled through the four sliding/hinge end joints that attach the slim, round, vertical members, to the 4 flat end members. The joint is tube-like, hugging the cylindrical shape of the member it surrounds. There is slight looseness in their attachment allowing for them to move vertically up and down the members as the entire structure expands horizontally; this is necessary as the two flat end members become closer as the structure expands. Furthermore, the sliding/hinge joint can rotate around the cylindrical member approximately 180 degrees, allowing for the entire attachment of the structure to rotate on a manufactured axis.

Vertical movement up and down the cylindrical bars is permitted by 4 end joints - allow of changing length of structure

The cylindrical members are long enough to enable the full closing of the structure. The fact that the 4 end members are attached to two parallel vertical members, means that when the entire structure is pulled to its maximum length, it does not create an arch shape. If the ends were not attached however, an arch shape would indefinitely be created as the structure has increased flexibility â&#x20AC;&#x201C; this is an interesting concept to me because it is about how connection either reduces or increases flexibility of structure.

Parallel bars at either ends

All angles grow or reduce equally in uniformity

Width decreases as length increases - proportional change as pulling force is applied to the end member

The left hand cylindrical member, is attached with thick, horizontal short elements, to the wide, flat member behind which has holes it to enable attachment to a wall. These short, horizontal elements must be thick and strong as they are supporting the weight of the mirror on the opposite end. Another function therefore of the overall structure is to facilitate compression via the weight of the mirror and its self-weight when it is orthogonal to the ground.

1.3 DIGITAL MODELLING Reading ‘300 years of Industrial Design (Heath et al. 2000) was important for my research as it explained the idea of creating a union between the craft of designing and the craft of manufacturing, and observing the “good things around us with purpose”. Considering the manifold process that the undertaking of design – the “functional and aesthetic content of the product” - has inert links with the manufacturing process – “the successful and economical production” – to create a “productive synthesis” highlights the importance of both craft and digital design in architecture (Heath et al. 2000). The ability to express ideas through drawing, digital design and models/prototypes, aids in creating tangible volume and materiality, thus intensifying of the emotional or sensorial experience within design and architecture. The process of digitally modelling the object in Rhinoceros enabled me to further apply the logistics of the structure through the creation of the members and elements themselves as well as show the objective truth about the object, attempting to bring it to life by creating the form, texture and nuances that create it (Heath et al. 2000). I applied the ‘X’ pattern using commands such as ‘copy’, ‘rotate’ and ‘mirror’ which (similarly to my method used to hand draw the object), allowed me to create perfect symmetry. I also used commands such as boolean difference (for the rounded parts of the end members), pipe (for the cylindrical end members), and extrusions of surfaces/curves.

In the future, when creating a more complex structure of the second skin in Rhinoceros based off this initial structure, I would like to use the Panelling Tools plugin to apply parallelogram/diamond/rectangular patterns along the surface of the object to increase complexity and repetition of the panel and fold structure. Using this distinctive method would implement the originality involved in digital fabrication and the designing process. However in this case it was not necessary.

1.4 DESIGN THINKING Here I started to feel inspired by the shapes created from my object. I first looked at the diamond pattern that was informed by the parallel sets of members that created myriad shapes fo diamonds as the structure expanded and contracted transforming the internal angles. The rule with these diamonds however, was that they were all uniform and there was no diversity in the different shapes, sizes, or interior openings of the diamonds. I therefore started to experiment with hexagons also inspired by the in class workshop. It became apparent and solidified that hexagons were capable of creating more diverse structures. These shapes would often inform themselves when a heptagon was added into the configuraition of the system. The heptagon served to distort and skew the overall graphic form. This was a stimulating idea to me and so I kep experimenting with the idea that if I control the length of lines of the hexagons, along with the width and thickness of the shapeâ&#x20AC;&#x2122;s edges, the effect shape will take on a new entity and will, of its own accord, create different directions, forms, shapes and movements. I also liked the idea of the interior of the hexagons delineating the amount of opaque/ translucent space that the hexagon will have; I think this ties in with the second skin concept well because these diverse spaces will create differnt patterns of vision as the view looks out of the skin structure, and as outsiders try to see the viewer inside of the structure - idea of protection.

Creating a variety of of diamonds experimenting with DISTANCES of apart from one

Uniform system

shapes Different ANGLES of lines in Transforming diamonds into through relation to each other - exploring hexagons. Starts to create its different object movement in creation own direction, form, shape and acute/obtruse angles movement as a result of my control lines of another

Disrupted system

Hexagons with different side lengths/possibility of inner hexagon rotation

Below, I started to experiment with the repetition of shapes in terms of projection. I used parallel lines of the shapes and extended them until they intersected and within these parameters, I created smaller scale versions of the same shapes with different length sides etc. This for me was an exciting process as it may be a potential process for creating a system of shapes that fit together to create a dynamic second skin.

Increase in members - add two (idea from in class workshop). Experimenting with multiplication of shape to create 3D form.

1. Add member between 2. Pull shape upwards 3. Notion of loose joint system

Then multiply above shape and attatch at middle of members how will this move?

Idea of porojection/reflection/ symmetry. Increase or decrease in size or implement differnt shapes to create variation.

Above, I started experimenting with this idea in a more volumetric condition, whereby I was attempting to gain ideas through sketching of my reconfigured object. It was an extremely successful process because I was able to move through steps that for me made sense in terms of increasing movement and voliume while keeping with the basic rules of my reconfigured object. I asked myself questions about the potential consequences of certian descisions such as what imapct would placing a middle member through the hexagon structure create - I knew it would create more interconnectedness and so became stimulated by this new concept.

1.5 VOLUME THROUGH PANEL AND FOLD In the creating workshop, my group and I had the opportunity to explore the potentias of panel and fold in terms of form and phsyical making. It helped me to understand why and how folding a structurally weak material such as paper, indefinetly creates increased structural strenth within an entire system. This is because the folds provide the panels with rigitity and stiffness that is dependent on the placement of these folds from one another. The structure was also able to stay in place because we shaped it aroudn the contours of the body in relation to where personal space is at its most sensitive (head, face, heart, chest). We explored how the matieral of paper in fact changed its properties when folded and attached together in the shapes of pre-fabricated hexagons and heptagons, Therefore the lines were delineated for us in a regular fashion which allowed us to explore notions of repetition contrasted with asymmetry. We discovered that there is a potent ability to create complexity in composition from the simplicity of panel and fold. I was intrigued by the idea of hexagons s as an extension on my the initial object (which created diamond patterns) as they create more interesting structures, are evident in nature, and through the implimentation of the heptagons create the irregularity of the system.

1.6 VOLUME I decided therefore in my sketch model, that I would further explore the hexagon. I however reconfigured it so that there was created a join between the middle elements by adding another element - therefore the hexagon perimeter was evident with the idea of the heptagon to create more dynamism through the middle element. In this sketch model, I was aiming to explore the notions and rules evident in my initial object (such as the angles increasing and decreasing with the expansion and contraction of the structure, as well as the two parallel end components being the driving force of movement and the two sturdy elements in the structure). I however, wanted to take my model further by adding another dimension of interconectedness in the volume, created by the extra element. I created two of these â&#x20AC;&#x2DC;heptagon-likeâ&#x20AC;&#x2122; structures and then used 5 horizontal elements to connect them in a parallel fashion.

1.6 VOLUME Series of movements through minimum and maximum expansion and contraction The result was a complete transformation of folding properties as the structure could now expand in two directions/dimensions instead of one, when holding the two parallel elements and pulling and releasing in the same action as the mirror extension. The forms became much more interesting and due to the use of flexibl and rotational joints, the hexagon form could be seen in myriad ways instead of only the regular equalateral form. I used different sized wooden members to create further changes in shape as well as experimenting with more variables in the way the object moves. For example, on occasion the connections between the smaller and larger members tend to create an angle that inverts on itself so the motion is stopped because the object is caught on itself. Overall, my interest lies in the duvtility and increased flexibility of this reconfigured object and it probed me to think about the hexagon/heptagon pattern as a design notion. I tthought about how it could be reconfigured again to be worn on the body and became interested in exploring the idea of patterning as a means of creating shifting/ irregular translucency and opaqueness.

1.7 SKETCH DESIGN PROPOSAL V1

Wrapped

expanding

and

contracting

cocoon

In reading Somer’s Personal Space (1969) I discovered that people in fact want to be close to each other partly due to fascination, as well as being able to obtain warmth and comeradeship. However people may also want others to move away in a “nice innofensive way” if they feel threatened by those invading what is their perception of their intimate and semi-private aura that surrounds their sensitive zones such as face and chest, as well as less sensitive zones such as limbs and sides. Somers also described ones self boundaries as PORTABLE TERRITORY in the sense that the individual carries it with them wherever they go although it disappears under certain conditions such as crowding.

Front

Perspective

In this response, I wanted to give the wearer of their second skin a framework that is dynamic and can adapt to situations were they feel as if they need increased protection of personal space through a semi-transparent system of hexagon and heptagon shapes as well as the implemention of my reconfigured obejct that may allow them to pull the sysem around them in different ways of view from the outside world. Therefore they are protected in system where they are able to integrate easily into crowds if they please. This is also relevant because “individual distance is not an absolute figure but varies with the relationship between the individuals, the distance at which other in the situation are placed, and the bodily orientation of the individuals one to another” (Somers 1969) therefore an adaptable model will ensure the individual is able to modify their second portable territory with eloquence and ease.

1.8 SKETCH DESIGN PROPOSAL V2 The

spaces

between

the

images

Somers defined personal space as “an area with invisible boundaries surrounding a person’s body into which intruders may not come”. However what happens when the inidivdual is unable to visually map people encroaching on their personal space? It is this question that I explore in this design, as it may mirror the interactions that occur on intimate occasions between lovers for example (Somers 1969), where there is typically dim light and therefore a reduction of distracting external cues and the allowance of the two people to stay close to one another. As personal space is a “culturally acquired daylight phenomenon”, exploring the possibilites of what happen when sight is taken out of the equasion to create an experince pertaining to other senses interests me. Therefore other reactions to invasions of personal space may be explored, and the usual reactions of people lowering their eyes or becoming rigid as a form of minimising unwanted social intercourse may or may not be modified.

Back

Perspective

The idea of meeting someone “under conditions where privacy, dignity and individuality are so reduced is difficult to accept” - thus this skin would be used to challenge the wearer in his or hers interactions with others. It is also modifyable to the wearer with the potential use of my reconstructed object over the head of the wearer (they can pull it back anf fourth to create different densities of light around them.

1.9 SKETCH DESIGN PROPOSAL V3 Fight the Flight Furthermore, personal space was described by Somers by â&#x20AC;&#x153;not being spherical in shape and not extending equally in all directions (people can tolerate closer presence of a stranger at their sides than directly in front)â&#x20AC;? - therefore this model explores how the tangible perception of personal space is in fact warped around the body. Research by Glen McBride has also explored the relationship between spatial and emotional behaviours such that people feel most uncomfortable when approached frontally, as well as reactions being more intense and strong when being approached by someone of the opposite sex (Somers 1969).

Front

Perspective

This sytem indeed has a twofold use as it does not allow people to touch where they usually would in crcowds for example, such as the shoulders linbs and torso. This model thus also explores the defensive pattern of facing away, hands placed at the face, retreat, bodily evasions, closed eyes, withdraawing the chin into chest, hunching and crouching. This design prohibits the ability for these actions to occur and therefore forces the wearer to refect on their innate emotions rather than immedietly acting on them. It protects the neck and throat, sensitive areas to any kind of intrusion or touch.

1.10 M1 REFLECTION

Throughout M1, I explored the mechanism of panel and fold, and its inherent ability to create mutable and highly variable forms. The capability to â&#x20AC;&#x153;observe the good things around us and do it with purposeâ&#x20AC;? as described by Heath, A., Heath, D., & Jensen, A., (2000), rendered me mindful to my first critical insight; to analyse the influential object or precedent exhaustively and methodically, which aids me in the intensely difficult task of deeply understanding the true essence of how a system works, as well as potential developments that could be made to create a new innovation while capturing the underlying idea conveyed. The understanding of this, may initially derive from the portrayal of two-dimensional aspects of a three-dimensional whole in methodical architectural drawings, which facilitated the thorough understanding of my object, as I was creating fragmentary, yet related views of reality, as mentioned in Ching and Francis (1990). Drawings and renderings on Rhino also help to facilitate design analysis and computerised operations; indeed, the understanding of the types of modelling tools available and the techniques for using these tools (Cheng, 2008) will become crucial in the next phases of the project. Furthermore, following discussions of M1 work, I received feedback that focussed on the joint systems in my sketch model â&#x20AC;&#x201C; the completely flexible joints rendered the movement of the object out of my control. From this feedback, it became increasingly evident to me that perhaps a kinetic panel and fold system would be difficult to translate into an overall coherent scheme. I realised that a pronounced advantage of the panel and fold system was the fact that through structural capabilities of panel and fold create increasingly rigid and diverse systems.

2.0 DESIGN

Hermione Hines Amelia Smith Lily Cheung Kai Lin

2.1 DESIGN DEVELOPMENT INTRO At this stage of the design process we had conversed and investigated each other’s design ideas, selecting and discussing the principal outcomes of everyone’s personal space concepts. We came to a conclusion that we were mostly interested in Amelia’s major concepts of blurring the boundaries of the body and personal space to create a sense of ambiguity. I studied and explored the concept of ‘liminal space’ and we felt that this was both innovative and relevant in terms of creating a sense of obscurity, due to its diverse nature. We felt there was boundless potential for this concept to truly drive ideas for the physical form. We started discussing ways in which the pluripotent nature of panel and fold could create individual, modular type geometries that, as a conglomerate would create this sense of haze we were after. Amelia then brought in the notion of the truncated tetrahedron as a potential geometry to experiment with, however at this stage of the design we were still in deep throws of testing and so were not attached to any one idea. We had not decided on form yet, because at this stage we felt that a potential for panel and fold system was the fact that through diverse geometries it would create its own sort of form – this was something we explored through M2.

2.2 CONCEPT We came up with two sets responded to the different notions

of diagrams that of personal space:

1. Black lines measure our own personal space boundaries We discovered very personal inferences such as the fact that Hermione did not mind being approached from her sides at quite a short distance away from her shoulders, yet felt more uncomfortable when people were too close face to face. Kai’s personal space indicated that his more sensitive zones were based around his entire head and the front section of his hips. Amelia was very sensitive to people encroaching on ber personal space if it was behind her and was more sensitive on her left side. Lily’s personal space was the most even around her body, yet was the most sensitive around her face and hips. Personal space is also more directly related to the upper body, particularly around the face, the neck, the chest and the arms. Personal space is a construct, due to the fact that humans have inherent, diverse levels interaction, as “individual distance is not an absolute measure but varies with the relationship between the individuals, the distance at which other in the situation are placed, and the bodily orientation of the individuals one to another” (Somers 1969). Thus we were not soley interested in our own ‘portable territory’, yet also ones perception of others’ personal space boundaries. We thus came up with another set of diagrams that measured our perceptions of each others personal space based on previous conversations we had had about personal sensitivity to strangers approaching us, as well as instinctive belifs (based on personality) about where each other’s personal spaces are.

GREEN = Hermione BROWN = Lily RED = Amelia BLUE = Kai

Personal space is a construct, due to the fact that humans have inherent, diverse levels interaction, as “individual distance varies with the relationship between the individuals, the distance at which other in the situation are placed, and the bodily orientation of the individuals one to another” (Somers 1969). Thus we also interested in ones perception of others’ personal space boundaries. We came up with another set of diagrams that measured our perceptions of each others personal space based on previous conversations we had had about personal sensitivity to strangers approaching us, as well as instinctive belifs about where each other’s personal spaces are. 2. idea

Between the two thresholds of personal space, there is an interaction between the individual and the viewer. This creates a zone of ambiguity or disorientation that occurs in the middle stage of understanding the boundaries of personal space. In other words, a liminel space.

Coloured lines of someone

measure the elses personal

viewers’ space

DISCOVERY: A range of vast and subtle differences between ones perception of their own personal space, vs another person’s perception of that persons personal space. Hermione: expressive when she talks (gestures and expressions) - more spaces around her head and arms. Personal space did not extend from her face as far as she actually felt it did (Kai believing it extended further backwards). Kai: Larger personal space than the group thought he did around his head. Smaller boundary - males less sensitive around chest area, but extension around back of his torso. As Kai is a bit less expressive assumption of more space around him comparatively. Lily: smaller personal space anticipated, especially around Less outgoing more

than the group her head zone. personal space?

Amelia: outgoing and active - smaller personal space. Groups’ perception of her personal space was the greatest contrast, displaying that we believed her boundaries extended much further backward than she felt.

2.2 CONCEPT We wanted to extend the construct of personal space, to better explore the dichotomy between the user’s personal space and the viewer’s perception of this personal space. Our second skin will respond by emphasising the liminal space between the intangible identity/personal space (that extends beyond the physical body), and the viewers’ idea of where this is. From our findings, we discovered that almost every time there will be a difference between the two perceptions, thus reaffirming the multipotent nature of personal space. Through our second skin therefore there are two goals: Wearer – wants to make tangible where their personal space/identity extends to. As a viewer – to be unable to decipher the boundaries of the physical body through the distortion created between their perception of the wearers’ personal space and the wearer’s perception of their own personal space. When the viewer becomes aware of this liminality, they may not know how to navigate the transition, they may become disorientated and confused, standing paralysed or fleeing the unknown... The word liminal comes from the latin word limen – meaning ‘threshold’ – any point or place of entering or beginning. A liminal space is the time between the ‘what was’ and the ‘next’ – place of transition, waiting and not knowing – Thresholds, Transitions, Transformations and how emotions are mutually exclusive from one another yet they intersect and interwine

2.2 CONCEPT

We decided to create our Second Skin using Ameliaâ&#x20AC;&#x2122;s personal space data. This was because her liminal space had the most contrast which we believed would demonstrate our concept the most effectively. Using our design concept, every second skin for an individual would necessarily be uniquely designed for the individual in order to cater for every persons sense of personal space. The lineworks are a tangible representation of the the space in between the two perspectives of personal space; the liminal zone. We recognised that these spaces become further articulated when the surfaces are cut and viewed at an angle. The surfaces are necessarily complicated and intricate as they are attempting to describe physically the â&#x20AC;&#x153;invisible linesâ&#x20AC;? (Sommer 1969) of personal space.

2.2 CONCEPT We traced the outlines of the hand drawn personal space diagrams into rhino, and then lofted them to generate two surfaces. One of which indicates the boundaries of the user's sense of personal space, the other indicates the viewer's interpretation of that individual's personal space. The generation of the viewer’s surface was intersting because we decided to average out all of the three persepctives which provided an intricate and thorough exploration of the surface articulation. Hermione’s surfaces We decided to experiment with one other member in the groups’ personal space to contrast with Amelia’s, however as a group we decided that hers involved a copious amount of overlap between the two surfaces creating a liminal zone that was extremely intricacate and intertwined. We thought that it was a fascinating outcome, however we still chose Amelia’s due to the potential difficulty in fabrication of Hermione’s complex surfaces. We knew in the amount of time needed for fabrication, this would most likely not be possible. We learnt however the vast diversity of individuals’ liminal zones, and thus creating more complex second skins would require further exploration as to the digital fabrication if the project was to be developed further.

BLUE = Wearer RED = Viewer By separating the distrinct elements, it becomes clear how their intersection/ lack there of creates distortion - Amelia’s personal space is more within the confines of the viewers’ perception of her personal space thus the blue element is concealed when the two surfaces are overlayed. This indicates that Amelias own perception of her identity doesnt extend excessively away from her phsycial body. In contrast viewers often verge on the ‘safe’ side of assumption, in the sense that they will often assume an individuals’ personal space is conceived as further than the individual themselves untill they know the individual very well, due to soial standards and regulations. This therefore exposes the inner most thoughts of the viewer vs wearer perceptions of personal space, forcing an interaction between to the two to occur and thus a confrontation between individuals’ intangible thoughts.

2.3 DIGITIZATION + DESIGN PROPOSAL V1 Proposal rationalising

summarising design

& decisions

We explored different types of panels and folds and came up with this star shape. It is form by joining six small right-angled triangles with a small triangular cutout at the corner. We then transform the shape by folding the dotted edges to make it 3D. We experimented with attempting to generate a second skin using these star forms which created a delicate and beautiful pattern, yet based on the decisions about the star forms and their limitations, we decided to not develop this concept. As we started on fabrication, we found that there was difficulty in joining this complex shape as these shapes can only be connected corner to corner. Design development - Method/skills adopted: We first drew the basic shape of the star (polyline) and then rotate 3D (Rotate3D) to thrust out the edges. We first lofted (Loft) a surface for panelling to occur. We then add grids(ptGridDomainNumber) and then panel (ptPanel3Dcustom) the star shape on the lofted surface.

2.4 PRECEDENT RESEARCH Through a series of sketch models that explored transparencies and opacity effects of the star form, we were able what kind of panel and fold module we would apply to the surface. This â&#x20AC;&#x2DC;starâ&#x20AC;&#x2122; shape was a potential module, which we liked because of its folds creating movement and dynamism through opening and closing effects. Aesthetically the use of triangulation was elegant and created beautiful movement effects accross a surface when in repeated articulation. The Al Bahar Towers used a parametric description for the geometry of the actuated facade panels, and responds to sun exposure and changing incidence angles during the different days of the year. We loved this concept because of its kinetic effect, however did not think we would be able to fabricate it in terms of responsding to light changes. We soon decided to reject this as a developement option because we felt it was too similar to the precendent stuy and not innovative enough for our second skin design and concept. Furthermore changes between open and close situations were not as dramatic and we thought they could be, as well as not exploring volume in the second skin thus it was not expasive enough as a fabricated concept.

CONCEPT Creating a haze “ Architecture is nothing but a special-effects machine that delights and disturbs the senses” Upon entering Blur, visual and acoustic references are erased - there is only the experience of an optical “white out” and the “white noise” of pulsating nozzles. The Blur Building is an “architecture of atmosphere” - a a blurring fog mass. There is nothing to see but our dependence on vision itself. Unlike entering any normal space, entering Blur is like stepping into a habitable medium. It’s formless, featureless, depthless, scaleless, massless, purposeless and dimensionless. The audience is dispersed, focused attention

and dramatic build-up and climax are all replaced by attention that’s sustained by a sense of apprehension caused by the fog. So here the world is put out of focus, while bring out our absolute dependence on the master sense of vision is put into focus, and maybe share our kind of sensibility with our other senses. Relates to our second skin in the sense that it explores HOW we navigate not only space, but each other through space. The effect of a haze distorts the viewers perceptions and creates ambiguity.

This precedent illuminates the shifting appearances, three

Blur Building Liz Diller 2007

incremental patterns, dimensionality, an

light, luminous, shadow, immersive environment.

A curved, steel geometrically ambiguous framework that contains an intricate arrangement of polished brass triangles hangs suspended from the ceiling. Light illuminates from the centre of the artwork and reflects off the panels, thus projects a beguiling pattern of light and shadow onto the surrounding space. The reflections visible on the outer brass surfaces of the triangles slide and shift in dynamic response to the viewers’ active engagement with the work. The movement of people around the artwork continually reveals new perspectives

The shape of disappearing time Olafur Eliasson 2016

“When we see things as a continuous process of production and relation, we may also see their potential.” – we explore this through the notion of transcendence from solidity through to transparency that mirrors the continual morphing of personal space around the body. The effect of the light emphasises the transparency and creates a contrast between the ephemeral personal space, that we are trying to render tangible through the negotion of reality. This encourages people’s engagement and experience of being present in the work The second skin in this way may function as a mirror, reflecting a not-yet-verbalised emotional need to speak about personal space that we carry inside ourselves. We will use this concept further in our second skin because the light illuminating from the centre/the body through the skin will create these incredibly evocative effects that will trancend into the audience in the final showing. Ideas of colour spectrum, double perspective, tunnels, walking, can you see things when you move All the same textures but when the elements rotate there is a shifting of light - thus the more rotated the shapes are the more light is able to come through the spaces, in contrast the less roated the objects are the less light is able to come through. Patterns created by simple idea of rotating bricks and the differential effect is quite incredible.

ONE WAY TUNNEL, Olafur Eliasson 2007

COLOUR

Arched walkway that is constructed from triangular panels of colour-effect acrylic glass and acrylic mirrors. The panels are assembled into a rugged form, with the longest triangles at the base of the tunnel and the shortest triangles forming pyramidal outcroppings on the ceiling. As visitors move through the passageway, they observe a fluctuating display of varied hues caused by the colour-effect acrylic glass, which changes tone depending on how light strikes it. When they look back, however, instead of seeing the colourful environment they just passed through, they are met with the dull black backs of the panels, with only hints of colour escaping through the interstices. The work is often installed on a semi-transparent elevated walkway that reveals a surprising view of the tunnel from below.

Mirrorcube

Tham & Videgård Arkitekter

The structure is a mirrored glass box suspended round the trunk of a tree in Harads, northern Sweden. The exterior reflects the surroundings and the sky, creating a camouflaged refuge. The interior is all made of plywood and the windows give a 360 degree view. The dimensions are 4x4x4 metres. The base consists of a lightweight aluminum frame around the tree trunk and the walls are covered with the reflective glass. This concept was extremely important in our design in terms of the sensory effects of further creating a sense of distortion and disoreintation for the viewer when they look at the wearer and the second skin. It enables the wearer to render the liminal zone even more ambiguous.

MOVEMENT STUDY: ‘DAS TRIADISCHES BALLETT’ OSKAR SCHLEMMER, AND THE BAUHAUS

Deforming the boundaries of the body, ambiguity. Bauhaus, a modernist art movement that spawned from art schools in germany, and eventually spread throughout europe in the early 20th century. In 1922, Oskar Schlemmer used the human body as a medium, experimenting with pantomime and ballet with this performance (toured europe through mid 1930s). By incorporating costumes that reduced the human figure

2.5 DESIGN PROPOSAL V2 We seeked to explore HOW the tetrahedron could fit between the two surfaces (liminal zone); we achieved this through experimentation with scale, transparency and opaqueness, and different connections. These three variables allowed us to place the conglomerates of tetrahedrons in accurate articulation of the physical intricicies of the liminal zone created from the personal space diagrams. SITE ANALYSIS intergration - Our overall form morphs from extremely volumetric, geometric, solid and opaque sections to more planar, framing, delicate and transparent elements as the overall form mimics the diversity of personal space. The more solid areas placed in more vulnerable parts of personal space vs the transparent aspects of the second skin that are placed in more neural zones. Blurring effect - the morphing between translucent shapes and volumetric forms obscure and add onto the silhouette of the body. This adds ot the overall idea of someones silhouette and the ability to read where body ends being completely distorted.

We decided to explore the notion of the truncated tetrahedron which is a 3D uniform polyhedron (its faces being regular polygons) bounded by 4 hexagonal faces and 4 triangular faces. The truncated tetrahedron has 18 edges, 6 of which correspond with the 6 edges of the tetrahedron. It also has 12 vertices. We decided to implement this geometry because it explored panel and fold in a volumetric sense as well as the fact that the planar faces meant that connections could be easily generated betwen surfaces. The planar surfaces also allowed for us to explore with transparency and opaqueness through the morphing from just the frame element of the shape to the solid eliment. It was also a distinct volumetric form which we felt we could replicate and distort in order to create the effect we wanted in terms of the overall form.

2.6 EXPLORATION OF JOINTS Truncaded Tetrahedra Hexagon to Triangle: We felt this would be an interesting connection ot explore because it generates more dynamic forms because of the inherent variation in how the connection can occur. This may then lead to a form that incorperates further movement and is a much less static look than just sticking planar faces together. Hexagon to Hexagon: By connecting the hexagon surfaces together it allows the least flexibility, creating a small and enclosed solid. However the aesthetic of it is the bulky and heavy which could be positive or negative depending on the effect that we want to generate in certian areas of the second skin. Tabs: The function of the tabs also facilitates the movement between shapes which was important in the articulations between sensory effects and formal effects as these combined could create a vigorous and moving system. Creates curvature which allows the tetrahedrons to stack and go around the body, giving flexibility in the form.

Triangle to Triangle: It shows the tetrahedron in its most distupted form because it connects by the smallest planes in the shape, which could be interesting if we want to ephasise the tetrahedron as a pure form Insertion of a pyramid joint between elements: Making use of pyramids as joints can increase variations in the structure. However we felt it was unecessecary because there is already triangular faces we can join to, thus we did not need to add another volume between. It also creates undesirable symmetric forms because we are trying to facilitate incricacies which mirror the variation of individualsâ&#x20AC;&#x2122; personal space.

2.7 PROTOTYPE AND TESTING EFFECTS

Mirror and light elements The purpose of the mirror elements in the second skin is so that the reflections in fact distort and change in active response to the viewersâ&#x20AC;&#x2122; engagement with the wearer and the skin. The mirror elements also create distortions of segments of the environment so that as the viewer moves around the form, they will constantly be seeing misrepresentations of the surrounding environment as well as reflections of the skin itself which will detract from what lies underneath (the body) â&#x20AC;&#x201C; ties in with the idea of not knowing where the body starts and ends and the liminal zone. The light prompts reflection on rendering an intrinsically vulnerable notion of personal space and perception of the body impervious, unclear, and unnatural.

The digital prototype allowed us to experiment with connections between the faces of the tetrahedron eg. using white cotton to connect - this was important because it created a more subtle connection. Furthermore, the cotton acecntuated the outline of each panel which may further enhance the textural quality of the skin. We encountered problems in the process from digital creation to physical fabrication. The making process opened our eyes to the fact that while the design may be complete in the virtual world, there is much more to be done in relation to building it. In bringing the design to fabrication, the polypropelene was â&#x20AC;&#x153;burntâ&#x20AC;? by the laser which created an undesired discolouration of the material. Hand making prototypes also further enabled us to understand the structural qualities of our system.

2.8 M2 REFLECTION In M2, there were inherent associations with the fact that “architectural design is a process of communication…it is a long way from the designer’s initial idea to the built result” (Scheurer, and Stehling, 2011) as we inevitably ended up completely altering our design due to a variety of design failures. In ‘Disjointed Tetrahedra’, faults lay in the form which was unwieldly and unable to be realised, as the panel and fold technique was not evident enough in the modules. There was also an unsuccessful realisation of variability in the design as modules were uniform, mostly solid and were joined by defective connections. These limitations prohibited the equivocal effect critical to our concept of blurring the viewer’s perspective of where the wearer’s body and personal space as an extension of their identity ends. M2 personally emphasised for me how, often the first design ideas are not the best, and it is critical to continue to adapt and refine ideas in order to create a remarkable final product. Upon reflection, further reasons for failure of M2 exist in the failure of prototyping to an extent that truly displayed the aesthetics and functions of the selected material system. If we had created more prototypes that explored between 10-20 tetrahedra that were connected in various ways, we would have comprehended and gained closure of the fact that the tetrahedra were not successful in displaying our concept or material system. This however did provide us with a new drive and motivation to continue investigation, which upon reflection is also a critical part of the design process; to understand failures as almost a process of elimination. In this way we were able to move away from the tetrahedral in M3, and explore a much more successful system.

3.0 FABRICATION Hermione Hines Amelia Smith Lily Cheung Kai Lin

3.1 FABRICATION INTRO Following from M2, we entirely moved away from the tetrahedron idea, and sought to discover a new system which would be variable, and also allow us to implement our desired effects of mirroring the system in conjunction with using light to render more powerful the intensity of the blur effect and distortion. We evolved our design through the implementation of the voronoi structure on grasshopper â&#x20AC;&#x201C; this required a level of expertise and prior experience with grasshopper which Amelia had and thus she was able to utilise the program to begin the design of the second skin. The group therefore entered a process of intense digital production, whereby numerous design potentials were explored which again was necessary in order to come to the final design through process of elimination. The fabrication process was the most difficult and intense, yet also the most satisfying due to the final product having been realised.

3.2 DESIGN DEVELOPMENT V3

V3_CELLULAR DISTORTION

PROTOTYPING CLUSTERED MIRRORING VARIETY

V3 VORONOI THE AMBIGUITY PRESENT IN

CELLS AND NATURE

Although this was an intersting enough concept, many of the problems that arose with our first model came up again in these froms that were too solid and thus did not provide the semi-transparent effect we were after, Furthermore there was implied issues with connections that would render the overall system esxtremely static and dull.

3.3 DESIGN DEVELOPMENT V4 DESIGN CRITERIA

Form – silhouette Successful because the variability of the individual modules in conjunction with our form finding exercise and the ability to translate these surfaces into rhino using commands such as loft and sweep, allowed for a curvilinear, yet deformed and intricately alterable surface which successfully explored our interpretation Panel and fold - Successful in V4 because every single element was created using the panel and fold system which was structurally sound and aesthetically pleasing.

Blurring – form and materiality The effect of the light creates a contrast between the ephemeral personal space, that we are trying to render tangible through the negotiation of reality. The mirror explores the sensory effects of further creating a sense of distortion and disoreintation for the viewer when they look at the wearer and the

Blurring – emotional effect of ambiguity of the viewer Very successful due to our integration of the reflective surfaces on the modules which seek to further erase visual references of edges of the body and instead seek to blur together and thus distort the viewers perception. Light explores the notion of transcendence from solidity through to transparency that mirrors the continual morphing of personal space around the body.

Digital fabrication to inform design Successful because we were able to implement technologies of Variety – variable cells grasshopper to achieve desired effect. This created increased diversity and uniqueness in individual cells that we needed.

3.4 V4 DESIGN PROCESS

PLANAR FACES REFERENCE SURFACES AREA These surfaces are the reference surfaces taken By running a â&#x20AC;&#x153;facetâ&#x20AC;? component command Found the area of these planar curves from the liminal space exercise we did as a group. Amelia was able to generate planar curves which in order to create movement vectors. followed the overall shape of the input surfaces.

OFFSET CURVES SCALE CURVES LOFT Offset the curves at a set but changeable distance, The offset curves were then scaled These curves were then lofted to create the cell in the normal direction from the original curve. to create openings in the cell. surface, punctuated by openings of variant size.

3.5 V4 FINAL PROTOTYPE DEVELOPMENT

ALL BLACK CELL We wanted to test the materiality as well as the constructibility of the cells, this one was successfully constructed but doesnâ&#x20AC;&#x2122;t blur effectively.

MIRRORED OUTSIDE The mirror material that we used was highly reflective, creating an interesting reflections and adding to the blur effect.

MIRRORED VS. BLACK We decided to mirror the outside rather than leave the cells black, or just mirror the inside, the mirror amplifies the Blur effect.

TESTING CAPS We were aiming to construct the cells with tab connections, to do this successfully we knew that we tested different tab lengths, 8mm was ideal.

Kolarevic, B (2003), Architecture in the Digital Age - Design + Manufacturing, Spon Press, London, highlighted the direct link between conception and production that digital software enables. Through the design process, there is a continual visualisation of what the idea may look like when produced due to the three-dimensional nature of the systems. Our own digital application was critical for a high degree of precision in fabrication, replication and assembly of the 3-Dimentional panels, which is fundamental to the successful transition of our design from Rhino to the physical realm. Meticulousness is necessary as our technique of Panel and Fold required the assembly of 180 unique panels, specific in form and location in order for the entire system to function correctly. Digital fabrication allowed for this through the unrolling of three dimensional surfaces into flat panels created by lines that could be cut and etched where appropriate in order to create the series of unfolded modules which, when laser cut, could then be physically reconstructed with precision. The collaboration of the digital and the physical was enlightening as we applied digital technologies as a medium of translation as well as conception. As suggested the reading by Lwamoto (2009), decisions as to which method to use in order to fulfil this, must marry the design intent with the machine/system capability. The inherent capabilities of plug ins such as Grasshopper and Panelling Tools enabled three dimensional investigation that was external to the processes in the real world and allowed for unlimited sovereignty in design outcomes. The notion of input and output that Kolarevic extends on was important in our process as the input incorporated the varying geometries of the model in Rhino and the output being the digitally encoded set of information translated to be laser cut or â&#x20AC;&#x153;reverse engineeringâ&#x20AC;?; the scanning of a point cloud which is adapted and converted to produce a close approximation of the geometry which is often a NURBS (non-uniform trational B-splines) profile.

3.6 V4 DESIGN PROCESS DEVELOPMENT

REFERENCE SURFACES These surfaces are the reference surfaces taken from the liminal space exercise we did as a group.

POPULATE GEOMETRY The liminal surfaces are populated with geometry in order to find the closest planar curves.

PLANAR FACES By running a “facet” com I was able to generate pla followed the overall shape of

VARIABLE SCALING of CURVES Similar to the offset process, the variance in scaling was created with the “image sampler” component.

LOFT The variable curves were th multiple forms, aiming to avo

mponent command anar curves which f the input surfaces.

hen lofted to create oid readable edges.

AREA I then found the area of these planar curves in order to create movement vectors.

CAPPING An extra layer of complexity came by the need to cap objects in order to place the LED lights.

IMAGE SAMPLER to VECTOR I created a set of variable vectors using the â&#x20AC;&#x153;image samplerâ&#x20AC;? component to map the variance in a camouflage pattern, thus creating a blurred effect with form rather than colour.

Length

100

Length

LENGTH_MATRIX

125

Apeture - 0.2

Apeture - 0.4

Apeture - 0.6

Apeture - 0.75

Apeture - 0.85

Apeture - 10

APERTURE_MATRIX

APPLYING CRITERIA

3.7 FINAL DIGITAL MODEL

The bridge built between the virtual world and real life production, meant that the process of prototyping and fabrication was quite a seamless step. The computerised process, as suggested in ‘Digital fabrications: architectural and material techniques’ by Lisa Iwamoto, streamlines the production, effectively blending “upstream and downstream” processes that are usually separated which can eradicate the intermediate steps between design and final production creating a fluid transition between design and construction. However, Iwamoto also suggests that digital production comes with its own host of restraints and there are invariably gaps among the modes of making, thus it should be noted that there was a gap between the promise of digital fabrication (in terms of the guarantee of meticulousness and autonomy) and its actualisation. We felt that there is a potential to become engrossed in the notion of completion through a one step digital design process. We discovered that digital fabrication of elements generated a more efficient and accurate process and product, however there was still a labour intensive fabrication process attached in terms of labelling, connecting and assembling the elements in unification. In the future it would be fascinating to experiment with the interaction of robotic construction machine that will automate the identification, transport, installation and assemblage of components using computerised information management systems, creating a stronger intrinsic link between digital design and digital fabrication.

3.8 FABRICATION SEQUENCE

TESTING EFFECTS ILLUSION/LIGHT

DIGITAL

PRODUCTION

Our curvilinear overall surfaces made us question how to solve the spatial and tectonic ramifications of the individual forms. Incorporating feedback from the M2 design, the digital design software of Voronoi in Grasshopper allowed for us to make the emerging complex geometry describable and producible. Thus from our prototyping we could determine the features that guaranteed the successful realisation of our design. In particular understanding how we could transform our ‘Disjointed Tetrahedra’ design which lacked the sophistication that comes from variability in individual modules inherent in our overall design scheme. Thus for ‘Distorted Reflections’, a critical development was to increase the inconsistency and irregularity in individual cells to move away from predictability and uniformity in the second skin thus more closely adhering to our own design criteria. This visual cohesion was achieved through experimenting with irregular cellular forms, and realising them three-dimensionally through trialling variation in apertures and lengths of individual modules. Using panelling tools to determining the thickness of the tabs and looking into ways of incorporating structural support through the implementation of capping the larger, internal apertures of cells.

3.9 ASSEMBLY DRAWING

3.10 COMPLETED SECOND SKIN

The fabrication process investigations of materiality in relation to strength and weight of the skin, where the tabs were important mechanisms in determining the rigidity of the panels, thus making sure that every tab was connected along its entire edge to another tab was critical for the structural soundness of the design. The addition of Planar elements to the design was significant as they provided further structural support as they were critical for the the connection between cellular modules which were of a shape that was too unique to fit with another module, or on an angle that would not allow edges to connect. Thus although digital fabrication was necessary to create the overall design, the digital technologies did not allow us to test the skin in a gravity situation using our material. Thus in the physical realisation, areas that were vulnerable to tearing due to tesnsion stresses, were reinforced with a harness structure that created direct connections to the body. In doing this, we reconciled the developmental shifts in material and working method.

4.0 REFLECTION The conceptual resolution of the team’s final second skin model generated an overall fluid an incessantly variable and erratic form, constructed from multifaceted surface tectonics. The form was unearthed through the examination of a universally recognisable and immanent concept, which provided the eminent driving force for every design decision made throughout later proceedings in the process. Through the completion of this subject, I have explored novel techniques of digital design, and absorbed these as a succession of myriad mediums mostly digital, but also physical. As mentioned by Bernstein, P, Deamer, P (2008) “risk is to be avoided at all costs…we want to know what we are getting structurally, aesthetically… even emotionally”; this resonates with me because indeed, the poignant gratification of not only the certainty that a digitally created product will be precise from CNC laser cutting, but also fulfilling the fact that some of the burden of laborious physical manufacture is removed. This is not to say that digital production comes with no cost; we found a discrepancy between the assurance and potential of digital design and then of fabrication because during fabrication, there were many moments when it was necessary for us to in fact do a lot of manual construction and fixing which required sporadic innovation in times of tackling fabrication issues.

Due to the complexity of our skin in incorporating a vast quantity of cells (panels) there was a need for this skill in making. There are many components that differ between the digital and physical model, such as the fact that in the digital design, the skin sat perfectly around the body because it was frozen in space, when in reality we had to negotiate the skin as it inherently hung off the body, thus the fabrication of a harness and attachments to the body was necessary. The ignoring of this factor in the design phase and its repercussions in the fabrication demonstrates the necessity of designers to have skills in craft, as the translation from the virtual to the physical is the most problematic. Perhaps the future of seamless design process is embedded in ideas of the entire process being digitally controlled, from production to fabrication using robots as “abstract processes of representation that lead to abstract processes of making” Bernstein, P, Deamer, P (2008). Using voronoi, we were able to replace the invariable forms with a “new formal logic…where scrips generated topological relationships” (Bernstein, P, Deamer, P (2008) that resulted in our complex skin. There was indeed a “direct linking of [us as budding] architects to the tools that made [our] design” (Bernstein, P, Deamer, P (2008); the capabilities of the voronoi system to create intricate geometries enabled us to move away from the time consuming abstract process of drawing, which I still believe is valuable in exploring immediate ideas or displaying effects in a personally stylistic manner. However, when it came to creating exact geometries for such a complex system as ours, it was an unequivocal task of using digital production. We thought about the product in a digital manner, yet possibly the most challenging aspect was physical fabrication. This this may adhere to our slightly unconventional design process, where there was a lot of time spent figuring out the exact codes in the voronoi in order to realise what we were envisaging.

Perhaps this was another challenging aspect, as we spent much more time addressing these issues than the physical making of prototypes, thus we did not have ample understanding or foresight into the “resistance of the material” (Bernstein, P, Deamer, P (2008). I agree that there should be constant reviews of “the continuing trend toward certainty today” (Bernstein, P, Deamer, P (2008) since this has greatly impacted the process of design in terms of the “ability for simulation software to predict any physical behaviour of materials” (Bernstein, P, Deamer, P (2008); this is in fact a notion that I must refute, because, although we gained necessary digital feedback, we disregarded the indispensable feedback we would have received if we had focussed more on physical making in early procedures for issues such as the impact of gravity, and the nature of materials (eg. in understanding that each unique sheet of mountboard is different), displaying a “lack of mediation between design and production” (Bernstein, P, Deamer, P (2008). Creating physical models that communicate information on the best methods and materials for fabrication is important, instead of only using digital ones that represented design “intent”.

David Pye’s “workmanship of risk” brings about critical insights for me. As the “result of working with a material…depends on the judgment, dexterity and care” of the maker, this tells me that it is inevitable to not fully understand the nature of material. What is important is understanding the process that requires patience in research and testing to overcome this. I felt that “the quality of the result is continually at risk during the process of making” (Bernstein, P, Deamer, P (2008), as decisions could have led to a potentially detrimental outcome. In this way, we included a degree of design risk and critical thinking in the work, also due to the fact that we set ourselves an extensive task of wanting to adhere the design to the entire body. I also agree with Pye that “something about the risk of craftsmanship is worth preserving” (Bernstein, P, Deamer, P (2008); a sense of authenticity, delicacy and character in the design. Risk is embedded in the notion of contextualising and filtering relevant information; which we adhered to through the varying the risk of our own input versus the certainty of the digital production. Through the fabrication process, we discovered new possibilities that would not have been found if not for the close analysis of the material system we were working with. For example the notion of creating cell like elements that were varied in length and aperture was something discovered when we reanalysed the material system after M2. We understood that we were capable of creating such structures, because we understood the conjunction between the technological capacities of Rhino, Grasshopper, and the laser cutter. Indeed, there is a reciprocity between what we can produce and what we design and imagine, as explored by Mitchell (2001). I now understand that monumental products can be created through dominant and fast pace fabrication, in short periods of time. Digital design has ultimately transformed how I think about design in terms of truly valuing the aesthetic of complex geometries of which I used to have a limited and naive understanding of, as well as evolving my own design techniques.

5.0 APPENDIX Bernstein, P, Deamer, P (2008) . Building the Future: Recasting Labor in Architecture/ Princeton Architectural Press. pp 38-42 Cheng, Cheng.

R. (2008). Inside Rhinoceros 4 / Ron K.C. Clifton Park, NY : Thomson/Delmar Learning

Ching, Francis D. K. (1990): Methods. In DrawingA Van Nostrand Reinold,

Basic Orthographic Creative Process, pp. 146-159

Heath, A., Heath, D., & Jensen, A., (2000). 300 years of industrial design : function, form, technique, 1700-2000 / Adrian Heath, Ditte Heath, Aage Lund Jensen. New York : Watson-Guptill, 2000. Kolarevic, B (2003), Architecture in the Digital Age - Design + Manufacturing, Spon Press, London Lwamoto, L. (2009). Digital fabrications: architectural and material techniques / New York : Princeton Architectural Press. Miralles, E., Pinos, C., (1988/1991), How to lay out a croissant, El Croquis En Construction pp. 240-24 Scheurer, F. and Stehling, H. (2011): Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 _4_, July, pp. 70-79 Sommer, R., (1969), Personal space: the behavioral basis of design, Englewood Cliffs, N.J: Prentice-Hall

5.1 CREDIT