DIGITAL DESIGN AND FABRICATION SM1 2016 M4 JOURNAL - HELICONE A KINETIC EXPLORATION AND EXPANSION OF HALL’S INTERMEDIATE ZONE
Isabella Chow 833256 Studio Six - Sia Malek
CONTENTS
1.0 IDEATION 1.1 1.2 1.3 1.4 1.5 1.6 1.7
OBJECT OBJECT + SYSTEM ANALYSIS VOLUME SKETCH DESIGN PROPOSAL V1 SKETCH DESIGN PROPOSAL V2 SKETCH DESIGN PROPOSAL V3 REFLECTION + KEY ISSUES RAISED IN M1
2.0 DESIGN 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9
DESIGN DEVELOPMENT INTRODUCTION DIGITIZATION V1 DIGITIZATION V2 PRECEDENT RESEARCH EXPLORATION + PROTOTYPING JOINTS MATERIAL EXPLORATION DESIGN PROPOSAL V1 DESIGN PROPOSAL V2 PROTOTYPE + REFLECTION
3.0 FABRICATION
3.1 FABRICATION INTRODUCTION 3.2 UNDERSTANDING THE MECHANISM 3.3 PRECEDENCE 3.4 DESIGN DEVELOPMENT + FABRICATION OF PROTOTYPES 3.5 DIGITAL MODEL V1 3.6 FURTHER DEVELOPMENT + OPTIMISATION 3.7 FINAL DIGITAL MODEL 3.8 FABRICATION SEQUENCE 3.9 ASSEMBLY DRAWING 3.10 COMPLETED SECOND SKIN
4.0 REFLECTION 5.0 APPENDIX
5.1 CREDITS 5.2 BIBLIOGRAPHY 5.3 IMAGES + GRAPHICS
1.0 IDEATION
1.1 OBJECT
The moose head came with a set of instructions including a diagram of the layout of each and every piece. This diagram was scanned and each piece traced with surfaces extruded in Rhino 3D. These pieces were then placed and connected according to measurements taken on the physical model and to scale technical drawings.
1.1 OBJECT All drawings 1:2 scale at A4
FRONT
RIGHT
1.1 OBJECT
TOP
ISOMETRIC
1.2 OBJECT + SYSTEM ANALYSIS The moose is created from a series of flat cutout pieces of balsa wood. Each of these pieces has a series of numbered linear slots. Each piece interlocks with other pieces with corresponding numbered slots. It is through this slotting process that the flat and basically two dimensional pieces are connected and interlock to become a three dimensional object. From a plan view all pieces are placed either vertically or horizontally and form a grid-like pattern. Corresponding slots are the same length and width therefore they fit tightly together and do not simply fall apart from each other; this means that the moose needs no glue or adhesive to secure the pieces together. In the context of a children’s construction set a lack of adhesive means a lot less mess and a cleaner final product.
1.3 VOLUME
I incorporated the slot mechanism used in the moose head design to provide structure and stability in the form. Small notches were cut out of the vertical linear elements and the same size notches were cut from the rectangular pieces. These correspomnding notches or slots interlocked to create a tight link between the vertical elements and the rectangles - holding them in place. Interestingly the object gave a great amount of flexibility - partially due to the material (1.5MM screenboard) and partially due to the placement and style of joints. This allowed for movement in an otherwise rigid and static mechanism type.
1.4 SKETCH DESIGN PROPOSAL V1 I used a panel and fold technique for this second skin exploration - by slicing and folding the panel of pattern rhythmic curves were formed by the repetative lines of paper. I then attached two of these folding elements together and secured them with glue. I found that when I placed my hand in the gaps made by the folding pattern and moved around my hand the form began to contract and expand gradually. In a larger and more repetative form when placed on the body the ‘skin’ would have the ability to contract and expand and move with the body.
COMPRESS
EXPAND
1.5 SKETCH DESIGN PROPOSAL V2
1.6 SKETCH DESIGN PROPOSAL V3
1.7 REFLECTION + KEY ISSUES RAISED IN M1 Throughout the duration of M1 I consciously explored the key and mosty common mechanism of section and profile, that is the slotting mechanism as portrayed in the formation of the moose head. My sketch model became a simplified hand made depiction and exploration of this slotting mechanism. However following the pin up and critique of our M1 work it wasd pointed out to me the success of the sketch model in terms of its ability to make a generally static and rigid mechanism flexible and give it movement. Of course this value of my sketch model was completely coincidental but from this point onwards this notion of creating movement in a generally static form became an aim of my second skin assignment.
2.0 DESIGN
ISABELLA CHOW VICTORIA DAVIDSON TRITON LAY
Figure 1. Personal Space - “common sensitive areas include the
area in front of the face down to the torso�
Original image retrieved from https://au.pinterest.com/search/pins/?rs=ac&len=2&q=oyster%20 magazine&eq=oyster%20ma&etslf=5076&term_meta[]=oyster%7Cautocomplete%7C0&term_ meta[]=magazine%7Cautocomplete%7C0
2.1 DESIGN DEVELOPMENT INTRO
At this stage we had all analysed and discussed our individual work picking from it the main and critical design ideas and personal space themes. We had agreed on the strength and interest availiable in exploring this concept of creating a section and profile system which was kinetic - having the ability to create motion. We discussed how this possible movement could interact with personal space and in particular Hall’s theory of personal space and the varying levels or bubbles of an individual’s personal space. In terms of placement, a particular area of focus had not been chosen however it quickly became apparent to us that the area from the head to the torso was of great importance in terms of personal space. Form was discussed but not set in stone and we all liked the idea of something that would wrap around the body emcompassing the front and back.
2.2 DIGITIZATION V1
This design is directly derived from my initial sketch model. The entire form is created using panelling tools and involves a repitition of two elements - a vertical and a horizontal rectangular frame shape. They are placed of two varying angles so as the whole end form looks like an array of sharp spikes warding off any nearby enemies. The second skin takes shape around the torso - one of the key places a person in harms way instictively tries to shield.
2.3 DIGITIZATION V2
The second design derived from Victoria’s sketch model. She wanted to see how the small-scale model could look scaled on a person and how the members would interact with each other. She also wanted to play with the angles of pieces and explore what sort of overall form this would create. It acted like a belt and wrapped around the body it also included rings around the torso and spikey shapes encompassed the body.
2.4 PRECEDENT RESEARCH Kinetic architecture incorporates moving mechanical elements into an otherwise static structure, the result is a building with an added dimension increasingly complex and interesting. However like anything in architecture, a choice must come with a purpose or a function. Increasingly buildings are incorporating kinetic structures to react to environmental change. This move brings structures to life - it gives them a brain, which, with the input of an environmental stimulus results in structural movement. Figure 2. Santiago Calatrava, Wave, 2002 Southern Methodist University, Dallas, Texas Image retrieved from https://www.flickr.com/photos/kentwang/2384475734/
‘Wave’ sits 129 bronze coated bars on a triangular plinth above a shallow pool of water (“SMU Calatrava’s Wave Reflecting Pool”, 2002). It uses a sole motor to move each bar individually resulting in an undulating “four cycle wave motion” (“Calatrava Waves”, 2002). The sculpture brings to light the awe-inspiring effect created by the simultaneous movement of a group of repeated elements. Such an effect would not be reached if, for example, one larger bronze bar were to move above the pond, it is the combined movement of repeating objects that create one complete effect. Moreover from above the bars appear to move as a shear plane each bar undulates perfectly in time with the adjacent bar.
Figure 3. Ned Kahn, Debenham Store, London, 2014 Image retrieved from http://nedkahn.com/portfolio/project-lions/
Architect Ned Kahn creates kinetic building facades which move in response to wind but with no help from sensors or motors. Perforated, lightweight, aluminium squares are attached to the facade via small individuals hinges (“Project Lions, Debenham’s Store, Oxford Street, London”, 2014). The lightweight nature of these squares means they react to small changes in wind. Furthermore the repetition of these elements creates a total effect which is that of an undulating ocean, the individual pieces form a whole facade.
ANALYSIS OF MECHANISMS
BLINDS The mechanisms behind venetian blinds generally function in the same manner, albeit there are slight variations in every design. Generally speaking, the movement of the blinds are achieved by pulling the ends of the ropes. There are two ropes that control slanting or the ‘opening and closing’ motion of the blinds, and another two ropes which control the verticle motion.
VERTICAL MOTION The image demonstrates the verticle motion of the blinds, whereby the verticle spacing of each slat is altered by pulling on the ends of a rope. Firstly, the rope enters and runs through to the other side of the upper beam, which then folds around a pulley. It runs down and through the centre of each slat towards the lower beam and loops back around to the top in the same manner it comes down. Thus, when the ends of the rope are pulled together, the slats rise evenly. SLANTING MOTION The slanting motion of the blinds are achieved by creating a ‘rope ladder’ for each of the slats to rest on (Slat Control Mechanism for Venetian Blinds, 2006). A singular rope forms the sides of the ladders, and a smaller string is tied inbetween the two sides to create the rungs. When one end of the rope is pulled down, the other end rises, therefore causing the rungs to slant backwards or forwards which causes the slats to slant.
Figure 4. Diagram of Blind Mechanism Image retrieved from http://blinds-shades-romania.com/portfolio/venetian-blinds/
PERSONAL SPACE ANALYSIS
150MM
FOCUS ON THE TORSO The head and the torso are the two common areas of senstivity for both males and females, in terms of an unwillingness to let others closer to these areas. Here we have decided to focus in on the torso area. However instead of creating a shell for the entire torso we will focus on an elongated diagonal space from one shoulder to the opposing hip. By doing so we minimise the area of the body distorted by the second skin - allowing for comfort and protection whilst still permitting small biological changes (redness, sweating etc.) which inform another person how the wearer is feeling as well as clothing and jewellery choices which are a part of the wearer’s personality.
HALL’S INTERMEDIATE ZONE Hall’s intermediate zone is a 150MM invisible boundary around the body in which an individual only feels comfortable allowing his/her closest emotionally connected people entry into (Parker & Leo, 2011). We wish to make this boundary tangible with a second skin. The skin extending 150MM when the wearer is confronted by people they do not allow entry into their intermediate zone, and then flattening to allow those most emotionally connected to the wearer to move into the intermediate zone.
Figure 5. Making Hall’s intermediate zone tangible
Figure 6. Elongated diagonal across torso
2.5 EXPLORATION + PROTOTYPING JOINTS JOINT 1: By creating V-shaped angular slots on the members that sit on the x-axis the members on the y axis are given room to move horizontally at the given angles. However after making a small sketch model in 1mm boxboard we realised that an additional direction of movement could be achieved by pushing the grid at differenty angles and contorting the structure. This is largely due to the flexibility of the material used as 1mm boxboard clearly is not as sturdy but much more flexible than 3mm perspex for instance. Furthermore the two movements - contortion and horizontal sliding - could be done simultaneously to achieve strongly manipulated joins.
WHAT IF THE STRUCTURAL GRID WAS NOT STATIC? CREATING MOVEMENT WITH SECTION AND PROFILE
JOINT 2:
JOINT 3:
2.6 MATERIAL EXPLORATION 2MM SCREENBOARD
3MM PERSPEX
The 2mm screen board was a useful material for retaining the shape of the individual members. The thick paper distorted each element when put together as it was more bendy and less stiff.
In terms of structure 3mm perspex is extremely structurally sound and sturdy however this means that it lacks flexibility and is quite brittle therefore if bent too much it has the tendency to snap. With this in mind movement is limited to the horizontal movement of members sitting on the y-axis, the perspex does not move in contortion like the box board or screen board.
Cutting each individual slot was really difficult and time consuming. It was hard to make each slot identical to the other especially when cutting such small-scale objects. Laser cutting these elements would be much quicker and more consistent.
The translucency of the perspex has two important uses: 1. All joints can be clearly seen - this leads to a better understanding from a straight visual perspective of the mechanism behind the skin 2. Covering a human with a bulking opaque second skin conceals clothing and small biological changes (say reddening or sweaty skin and goosebumps) which suggest how a person is feeling or possibly give an insight into the wearer’s personality, a transparent second skin reduces these aspects.
2.7MM PLYWOOD The 2.7mm plywood used was pretty structurally sound and sturdy however did not allow for a lot of flexibility (marginally more than the 3mm perspex) before it began to show stress that would result in snapping. In terms of laser cutting the laser burns the wood slightly and generally speaking the wood looks different on each side (there is one cleaner looking side), this could create issues if the finished design is to encompass flipping and two sided pieces. Laser cutting meant that the plywood had the same issue with the U shaped joint as the perspex, that is the inability to laser cut pieces horizontally. The wire member for the wire pin joint would also need to be thicker for it to hold the pieces tighter.
Figure 7. Laser Cutting Process
Original image retrieved from http://www.josephsworkshop.com.au/laser_cutting/
2.7 DESIGN PROPOSAL V1 The intentions with this model were to demonstrate two traits or feelings. Through the v shapes joint, the interlocking double-sided piece is able tilt both left and right showing a sharp or a curve side. We thought this was a way to make the section and plane (often a solely static system) obtain movement in two directions. The combination of the many small elements creates an expansive 3D geometry that as a whole expresses movement through form and also through detailed joint mechanism. From the above precedence we picked up the continued use of repition of smaller subunits or elements to create a complete facade and total kinetic effect. Seperated, the individual subunits though they may have movement do not produce the same effect as when they are repeated and combined. Hence we looked at creating a grid structure for stability and to hold an above network of repeated kinetic subunits.
2.8 DESIGN PROPOSAL V2 Second skin has the ability to open and close; two sides open - the first (pictured left) is sharp and triangular - designed to promote fear - the second is soft with filleted curves - designed to still keep distance but not inflict fear instead it is more comforting.
According to a study by Bar and Neta (2016) objects with sharp features are less preferred to the same object with curved features. The reason for this is that subconsciously sharp contours convey a sense of threat. The study found that a negative connotation towards an object was not only for it’s semantic meaning (e.g. a threatening feeling from a cutting knife) but also for it’s visual properties.
When showed a watch with curved features and another with angular, the latter was liked less (Bar & Neta, 2016). Furthermore, studies by Aronoff, Woike, & Hyman (1992) gathered that elements such as a sharp V-shaped corner convey a threat whilst round primitives convey warmth (Bar & Neta, 2016).
2.9 PROTOTYPE V1 + REFLECTION Our prototype consists of two main pieces which rest on the wearers shoulders, and smaller ‘blinds’’ that pivot around a string which gives it the ability to open and close. Every blind is connected to the string with three tight fitting rectangular pieces that prevent it from falling apart. Initially we planned to lasercut the prototype, however it did not go as planned. Therefore we decided to cut separate pieces using polypropylene. We found that polypropylene was too flexible for the intended purpose, and that human error in cutting meant that certain pieces or holes were either too large or small. Moreover, the string was pulled and tied at different measurements so there was uneven tension throughout the prototype. Some sections of polypropylene bucked under the tension and didn’t sit in place correctly while others were too loose and simply flopped downwards also not sitting in place properly. The pieces failed to interlock and the general presentation of the prototype was messier than we had desired and failed to convey the attempted effect. All in all, further research, prototyping and investigation is very much needed to ensure an aesthetically pleasing and most of all effective final second skin design.
3.0 FABRICATION ISABELLA CHOW VICTORIA DAVIDSON TRITON LAY
Figure 8. Helicone Kinetic Sculpture Original images retrieved from http://www.thisiscolossal. com/2012/12/cycle-of-decay-a-sculpted-ceramic-hand-thatlooks-like-a-carved-tree-branch/
3.1 FABRICATION INTRO
Following the conclusion of M2 we decided to take a massive jump and completely steer away from further developing the exact model we had prototyped in module two. This was for a variety of reasons - we felt we had run a dead end, after exploring and developing countless new joints which manipulated a slotting mechanism we were yet to find an appropriate joint for our design concept. Critique of our module two pin up also led us to the conclusion that the belted form we had decided on was quite basic and limited our exploration of personal space to the torso area which was only mildly justified. We needed to find a well justified placement for our design and in turn an interesting and stimulating three dimensional form - the belt clearly lacked this. To put it bluntly we had be too focused and encapsulated on trying to create a new section and profile joint which allowed for movement, when with further research we could find a said joint that already existed, ready for further evaluation. Another key tip that we took on board following the module two critique was Alison’s point that to create a section and profile second skin we did not need to be restricted by the slotting mechanism, we could explore other means of section and profile. It is important to note however - despite the rejection of our initial module two design we still wanted to create a second skin which would allow for movement of a section and profile mechanism as well as contiunue our concept of expanding Hall’s intermediate zone and explore the idea of contrasting curved and angular forms. Further research led us to find the helicone mechanism which formed the basis for our final second skin design.
3.2 UNDERSTANDING THE MECHANISM
SPINE The pieces need a spine to rotate around, the centre of the spine acts as the centre of gravity
“JOINING PIECES” pictured in red Are cut at an angle of 111.35 degrees There are two between each teardrop piece, one attached to the upper piece and the other to the lower piece Each piece has the ability to rotate137.5 degrees with each spin
“TEARDROP PIECES” pictured in blue Each has a red piece attached to the top and bottom (with the exception of the top and bottom pieces) this allows each piece to rotate 137.5 degrees
3.3 PRECEDENCE
Exploring a helmet type structure - as analysed tending from the head to the torso. A helmet p but here we explored the helmet as an extensio shoulders and neck. Applying the helicone mec structure so that it wraps around the circumferen technique would also push the ‘helmet’ from an o protection to an aesthetically driven 2nd skin that (open and closed).
Figure 9. Rinaldy A. Yunardi, Fashionably Futurist
Original image retrieved from https://au.pinterest.com/pin/51031420150
d in M2 the area exprotects just the head on of the upper torso, chanism to a helmet nce of the head. This object solely used for t provides two effects
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Figure 10. Frank Crowninshield, Alexander Calder, 1928
Original image retrieved from http://www.georgetowner.com/articles/2011/feb/22 national-portrait-gallery/
Calder’s sculptures create three dimensional portraitur skin involves the requirement for three dimensionality i cial sculptures we explored the possibility of applying th profile helmet form. This offset facial contour would be t sharp spine down the back. While the open phase wo spine randomly around the head expanding the person appearance.
For the final form we devloped two phases, open and c works:
PHASE ONE - CLOSED: Horizontal profile pieces form a profile of the face unde helmet form. Personal space is at its smallest. The form below, andulating curves create a welcoming form.
PHASE TWO - OPEN: Horizontal pieces are rotated and dispersed around the create a distortion of the face and the dispersion of the an increased personal space bubble and an overall mo
8
2/
re. Part of the brief for creating a second in the skin. Taking from Calder’s basic fahe facial form as a contour to the repetitive the closed phase and would also include a ould distort the face and disperse the sharp nal space bubble and creating a threatening
closed, in line with the way the mechanism
erneath with a spine down the back of the m at this stage is an extension of the face
e circumferance of the head randomly, they e rear spine all around the head results in ore threatening form.
3.4 DESIGN DEVELOPMENT + FABRICATION OF PROTOTYPES
PHASE ONE - CLOSED
PHASE TWO - MOVEMENT
This was the first test model for concept 3. It allowed us to test the proposed mechanism for ourselves and really understand how the Halicone toy was able to lock into different positions. The placement of the joining pieces dictated the overall form of this model when open or closed. Testing the MDF was a good starting point as the material was weighty enough to hold pieces down whilst still allowing for a smooth movement. The use of the small wooden pole through the center of each piece made us think of ways a similar concept could be applied to the body by possibly using a rounded hollow form such as a large pipe or a bucket. Using the teardrop shape also demonstrated how when closed, the form is very neat and streamline, but when open it turns into a sharp and angular overall shape. With each spin, each piece rotates 137.5 degrees. The sequential rotation of all the pieces results in an expansion of the personal space circle by x amount - x representing the distance between the tip of each teardrop point and the closest point of the inner circle to the point.
PHASE THREE - OPEN
3.3 DIGITAL MODEL V1
After the inital design development phase we decided on a form which had two desired looks. The first a contoured facial form with a clear spine / ridge at the back of the head, mirroring the face below the helmet. The second a randomly disorted face - unrecognisable - with spikes extruding from the central spine. We then attempted to model this concept design on rhino, this alluded us to some major issues with the form. Firstly the way the neck went in on the head meant that the bucket which acts as the spine and centre of gravity was obstructing the form and hence the pieces surrounding would be rendered static. We attemopted to cap an offset area around the bucket but the resulting form was undesirable and upon placing the form on a body in rhino the proportion looked completely ridiculous and we decided to go back to the sketchboard.
3.4 FURTHER DEVELOPMENT + OPTIMISATION Moving on from the face form we decided to simplify the form and focus on creating spines which woukld expand the personal space bubble. We looked at creating a randomly lofted star or smooth andulating curved form however this countered our concept of expanding the personal space bubble. As with a lofted curved form when it was in ‘open’ phase the form would be just a distorted version of this shape with no expansion of the personal space bubble. Therefore we decided on a form where three lofted and andulating sharp spikes at the back of the head would be the closed form - when rotated to ‘open’ phase the spikes would be distributed across the circumferance of the head - expanding the personal space bubble and creating a threatening look.
3.5 FINAL DIGITAL MODEL
BUCKET/ SHOULDER FORM: Modelled the bucket formation sitting over the shoulders
JOINING PIECES: Created using arc, extrusion and contouring commands - boolean difference command used to fit pieces to bucket
POINTED SECTIONAL PIECES: Created using loft and contouring commands - boolean difference command used to fit pieces to bucket
STATIC TOP HEAD PIECES: Created using loft and contouring commands. Top piece caps and weighs down the pieces to secure them so that they don’t fly off the top of the bucket when spinning
STATIC SHOULDER PIECES: Created using loft and contouring commands. Bottom pieces gradually ease helmut form over the shoulders - which carry the weight of the structure.
DELETING THE BUCKET/ SHOULDER FORM: Resulting in the final three-dimensional rhino model.
3.4 FURTHER DEVELOPMENT + OPTIMISATION
To successfully use the kinetic helicone mechanism the profile horizontal pieces must sit and rest on a spine - the centre of this spine acts as the centre of gravity that the horizontal pieces will rotate around. Importantly this centre of gravity must also be positioned in the centre of the head - to prevent the pieces from spinning in awkward and inconvienient rotational circles which would prevent the mechanism from working successfully. The issue was however that the head is not a solid straight spine with a defined centre of gravity. To counter this issue we decided to create a hollow pipe-like spine with a defined centre of gravity that the pieces would rotate evenly around. We came up with two possible ways to create this pipe - with slots for the eyes and holes for the ears. The first use a large sewerage type pipe which we would cut so it wraps around at least 3/4 of the greatest circumferance of the head. The second to laser cut flat cut circle pieces from thick MDF or perspex and stack them. The issue with these was that the pipe was ridiculopusly expensive and was only availiable in 8m lengths. While the stacked method was also extremely expensive, time consuming and came with an element of error - it would not be completely smooth and this added friction could possibly decrease rotational movement of the horizontal pieces. Hence we decided to use a plastic bucket which we would cut and slice eye / ear slot into.
3.6 FABRICATION SEQUENCE
STAGE ONE: After numbering and removing each piece of MDF we stacked the main pieces around the bucket and played with different forms by shifting and spinning. Importantly the pieces can be stacked in any formation as it is the placement of the “joining” pieces that determines the final closed form.
STAGE TWO: After the final form was decided upon each pointed piece had two “joining” pieces glued, one on the top and one on the bottom. Every piece must be glued rotated 111.35 degrees from the piece below in an anti clockwise direction so that when spun clockwise the pieces lock to form the final “closed” formation.
3.6 FABRICATION SEQUENCE
STAGE THREE: After gluing all the joining pieces to the pointed pieces we discovered that the form did not reach the top of the bucket as was intended. This was a result of incorrect measuring of the bucket causing errors in measurements on the final rhino file. We also realised the spacing for the eyes was not high enough and that the perspex when looked through on a vertically sectioned direction was not completely transparent, hence visability was restricted. To counter these issues we started to play with the spacing between each pointed piece. We finally worked out a method in which we would cut the top of the bucket off instead of the bottom. We also decided to increase the spacing from 3MM to 12MM over the eye area to better visibility. Both these resolutions also increased the height of the form so that it reached the top of the bucket.
3.6 FABRICATION SEQUENCE
STAGE FOUR: Began to work on the bucket and eye / ear holes. We used a saw to slice the circumferance of the bucket to ensure an even and clean final result. STAGE FIVE: We realised that the increasing vertical load and friction meant that as the pieces went down the model they spun a lot less successfully. To resolve this issue experiemented with applying paint, spray oil, wax and grease. The spray oil, wax and grease soaked into the MDF after a short period of time but we worked out that if we painted the MDF and then applied the oil, wax or grease it prevented the later from being absorbed into the MDF. Later we found grease the best option for decreasing friction and allowing for an easier spinning final result. We also decided to add cushioning foam inside the helmet for increased comfort.
Reading Response Architecture in the Digital Age - Design + Manufacturing/ Branko Kolarevic, Spon Press, London c2003
How does the fabrication process and strategy effect your second skin project? Digital programs are useful for communicating with fabrication machines through computer-aided manufacturing. Digital advances have extended ideas by allowing the unimaginable to be translated and constructed. Designs are no longer limited to what a person can draw, but rather whether constructability can reflect computability. The use of the laser-cutting machine allowed for precise and efficient use of MDF material. However, this method of fabrication is primarily guided by the digital fabrication process in which we found many constraints when developing the final idea. It was much easier to design forms in Rhino, however these could not often be executed in real life, either due to materiality or limited construction methods.
3.7 ASSEMBLY DRAWING
Figure 11. Exploded Axonometric of final rhino model Displays the three core segements: Yellow rotating pieces, Red rotating mechanism pieces, Blue static framework pieces
3.8 COMPLETED SECOND SKIN
4.0 REFLECTION
Digital Design and Fabrication has inarguably been one of the most crucial subjects I have undertaken at university thus far. It has opened my eyes to not only the level of design and finishes demanded but also to the level of innovation and care that is necessary to achieve these finishes. The entire subject and working process from analysis and Rhino 3D workshops through to design and finally fabrication was highly valuable and provided me with a foundation from which to build my knowledge and skills of digital fabrication methods. I have most definitely improved my digital skills and moreover feel much more confident to use programs and tools such as Rhino 3D and laser cutting etc. The studio sessions and being able to work alongside other groups and see what work they were achieving was fantastic in that it gave you a bit of a push to continue developing ideas and keep up with the workload. Throughout our design and fabrication process my group faced quite a few mishaps and challenges, particularly following our M2 prototype flop. I believe the structure of the subject however helped us overcome these mishaps - the breaking up of the processes into modules and the critiques between modules resulted in a complete realisation and design change following the completion of M2. Keeping with the same key concepts and aims we adapted our design and reduced our constraints, in some regards opening our eyes to greater options and thinking outside the box a bit. The result of this more open-minded secondary design process was a second skin which moved away from static waffle formations and looked at profile and section techniques in a new and interesting way. Having completely flipped our initial design on its head in the last few weeks of the subject we had to work extremely efficiently to produce a clean and well manufactured final product. This limited our prototyping stage which I believe reduced the aesthetic side of our second skin as we were mainly focusing on perfecting the mechanism at play. Marble describes design, and architecture particularly, as a process of mediating between imagination and production (Marble, 2008, p. 39). However in our case I believe there was some miscommunication in this mediation process; elements of our imagination and design were somewhat lost to our production stage and the combined stress of producing a working product with time constraints. This is not at all to say that I am disappointed in our final second skin but in reflection and in future I know have the knowledge and experience to begin my design process with a more open mind, and stray away from quickly buckling my imagination down to one idea and one idea only. Furthermore I now look at fabrication methods as not just an option for final presentation but as a resource of experimentation and representation throughout the design process. Fabrication enables us with opportunities to explore the physicality of our abstraction - it links the real with the imagination. Which in a larger context is what architecture does- it sits in a paradoxical position between the production of real tangible space and the conceptual ideals behind this space (Marble, 2008, pp. 39-43).
5.0 APPENDIX
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5.2 BIBLIOGRAPHY Bar, M., & Neta, M. (2016). Humans prefer curved visual objects. Psychological Science , 17 (8), pp. 645 648. “Calatrava Waves”. (2002, November). (Retrieved from http://www.architectureweek.com/2002/1106/news_11.html. Elkhayat, O. Youssef. (2014, April). “Interactive Movement in Kinetic Architecture”. Assiut University Faculty of Engineering, Vol. 42 (No. 3), pp 816-845. Kolarevic, Branko, 2003, Architecture in the Digital Age - Design + Manufacturing, Spon Press, London. Marble, Scott, 2008, ‘Imagining Risk’, in Bernstein, Philip and Deamer, Peggy (eds.), Building (in) the Future: Recasting Labour in Architecture, Princeton Architectural Press, New York, pp. 38-42. Namazian, A., & Mehdipour, A. (2013). Psychological Demands of the Built Environment, Privacy, Personal Space and Territory in Architecture . International Journal of Psychology and Behavioral Sciences , 109-113 . Parker, L., & Leo, T. (2011). Proxemic Distance and Gender amongst Australians: A Study of Side On Distances. Retrieved March 2017, from Griffith University: https://www.griffith.edu.au/__data/assets/pdf_ file/0012/383997/ParkerLeo-Proxemic-Distance.pdf “Project Lions, Debenham’s Store, Oxford Street, London”. (2014). Retrieved from http://nedkahn.com/portfolio/project-lions/. “SMU Calatrava’s Wave Reflecting Pool”. (2002). Retrieved from http://www.deltafountains.com/portfolio/ smu-calatravas-wave-reflecting-pool/. Wind Veil. (2006, August). Retrieved from http://nedkahn.com/portfolio/wind-veil/
5.3 IMAGES + GRAPHICS Figure 1. Personal Space - � common sensitive areas include the area in front of the face down to the torso� Original image retrieved from https://au.pinterest.com/search/pins/?rs=ac&len=2&q=oyster%20magazine&eq=oyster%20ma&etslf=5076&term_meta[]=oyster%7Cautocomplete%7C0&term_meta[]=magazine%7Cautocomplete%7C0 Figure 2. Santiago Calatrava, Wave, 2002, Southern Methodist University, Dallas, Texas Original image retrieved from https://www.flickr.com/photos/kentwang/2384475734/ Figure 3. Ned Kahn, Debenham Store, London, 2014 Original image retrieved from http://nedkahn.com/portfolio/project-lions/ Figure 4. Diagram of Blind Mechanism Original image retrieved from http://blinds-shades-romania.com/portfolio/venetian-blinds/ Figure 7. Laser Cutting Process Original image retrieved from http://www.josephsworkshop.com.au/laser_cutting/ Figure 8. Helicone Kinetic Sculpture Original images retrieved from http://www.thisiscolossal.com/2012/12/cycle-of-decay-a-sculpted-ceramichand-that-looks-like-a-carved-tree-branch/ Figure 9. Rinaldy A. Yunardi, Fashionably Futuristic Original image retrieved from https://au.pinterest.com/pin/510314201507874645/ Figure 10. Frank Crowninshield, Alexander Calder, 1928 Original image retrieved from http://www.georgetowner.com/articles/2011/feb/22/national-portrait-gallery/