Ddf_M3_Jiexin Wang

DIGITAL DESIGN + FABRICATION SM1, 2016 M3 JOURNAL - PHALANX Yingkai Chen, Jiexin Wang & Matthew 834103, 825924 & 813203

Amanda Group #5

Review on M2 The feedback we received during our M2 presentation, involved further exploration of our module diamond shapes.

While our designs and ideas were positive and satisfied the requirements of the brief as well helped us in the exploration of our designs, it was suggested that we experiment more on diamond pattern variation in order to better elicit an emotional response to further enhance our usage of the defensive spike protrusions of our design. In addition the idea of using the more tightly packed smaller diamond pattern was suggested by Chen over the use of the current diamond pattern, while Amanda brought up the idea of attaching extra longer spikes to help offset the problem of the smaller diamond pattern possessing smaller spines.

Furthermore, the feedback also brought up the topic of developing a method of attaching the second skin to the body as well as combining the modules together, as our previous attempt in developing one in the form of our internal layer was not quite as successful as it strayed a bit too far from our system of panel and fold. The idea of pinching the diamond shapes together was a method of joining the modules together was as it helped to create more variations in the diamond pattern as well as create a more dynamic flow in the design. Another suggestion brought up by Rosie during feedback was to explore with the scale of design as it our current idea was quite restrictive while making a bigger design would greatly enhance its presence.

DESIGN DEVELOPMENT DEVELOPMENT #1

|PROTOTYPE

ORIGINAL MOON CRESENT, LESS DENSE, LESS FLEXIBLE

DENSE MOON CRESENT, COMPRESSING, MORE FLREXIBLE AND DEVELOPABLE

In M2, we produced a lot of prototypes, from Amanda’s feedback, this densely moon cresent is eventually selected to keep developing. Because this one is more flexible and owns much potential to build different shape through compressing and pinching in various ways. As well as different size and patterns are considered.

In new pattern, the moon cresent are distributed into 3 parts to achieve the transition of diamonds. The first part is composed of extremely small and dense diamonds for pinching. And middle diamonds are combined to form the second part to make more possibility for compressing and building shape. The large diamond with spikes are the third part which gives a sense of attacking

DESIGN DEVELOPMENT DEVELOPMENT #2

|OVERALL FORM

In response to the feedback received during our presentation, we devised three more designs to help us explore the various suggestions made.

SKETCH DESIGN NO.1

Utilising the idea of pinching, combines multiple modules together to create a dynamic flow of diamonds around the body. Through pinching not only a solution to the connectivity of the modules was found but also pattern variation and a way to contour and curve the design in order to wrap it around the body.

DESIGN DEVELOPMENT SKETCH DESIGN NO.2 Developing further from the first design, design 2 utilised the same pinching idea however to a very different effect. While the first design only wrapped around the body, this design extends forward to encompass the frontal space of the wearer as we believed that one’s personal space was predominant in the front.

DESIGN DEVELOPMENT SKETCH DESIGN NO.3 This design uses two layers of panels with an external layer possessing spikes and a smooth spikeless inner layer, which is covered by the external layer when closed.

When not in use the design is folded in an overlapped fashion covering up only the chest of the wearer. Once in use the two exterior panels will open up and expand with one panel covering the wearers face while the lower panel covers more of the

Internal layer of panel.

wearers lower torso.

External layer of panel.

This was the design we ultimately setteled down on. As we liked the idea of having movable modules. to cover the wearers body. The previous designs all possessed very static elements that while very protective didn’t comply with our idea of a dynamic design that can protect ones ever changing persoanl space.

Defence inactive.

Defence activated.

DESIGN DEVELOPMENT - FABRICATION OF VERSION 2

Through the testing of the design from a vertical orientation was discovered that the polyproperlene was not strong enough to maintain the desired shape and form of our design as the structure was too heavy and fimsy. As a result the pivoting wouldnt work thus failing the need for a defensive second skin, as such a new design strategy was devised to solve these problems.

DESIGN DEVELOPMENT - FABRICATION OF VERSION 2

The new design featured the opening and closing of the panels are now worn on the back rather than being suspended on the front of the wearer. When the design is not in use i.e both arms by your side, the spikes of the design will still out backwards and be invisible from the from untill otherwise activated. The angle of motion is a natural and often subconscious response to any outside intrusion.

Furthermore, due to the flexible angles of motion the arms are caple of. The design and thus the projection of the spines are not restricted in covering the front but also the protection of the the wearers sides.

The back facing orientation of the spikes relate to our newly discovered persective of personal space, that being the often overlooked backside.

Rather than using strings to open and close the design like in the previous design, the the bottom ends of the panels would be secured on the wears arms which would then move and pivot based on the very movement of the users arms.

READING RESPONSE TO WEEK 6

The reading descirbes the various methods and processess used in the modern day fabrication of architectural models and how highly complex forms could be extracted and manufactured from a digtial design. The process outlined that were used in our design.

-Subtractive Fabrication- The Process of cutting away at the material leaving behind only neccessary materials.

- Two-dimensional Fabrication

- Additive Fabrication

- The Process of adding and joining materials together to fom something new.

- Formative Fabrication

- The Process of reshaping and altering materials such as folding and die casting.

-Surface strategies- Adding to the surface of material through the techiques such as spray painting.

-Production strategies- Method of productions such as contouring, tessilation, triangulation, unfolding.

While all of the production methods mentioned above were all used in our design, Subtractive Fabrication was the prodominant from of manufacture.

Through the extrensive usuage of laser cutting, we were able to create our desired panels at the right shape and scale. Formative Fabrication and well as surface startegies were used to help us manipluate the surface of our design as well as alter the shape of form in order to create volume.

READING RESPONSE TO WEEK 7 While previously the creative ability of many architectures was often highly dictacted by limited technology. Technology these days has allowed designers and architects alike to create and design like never before. Programs such as CAD/CAM and CNC has allowed designers to transform digital 3D designs into physical models, thus expanding the “boundaries of architectural form and construction”.

In terms of our design which possess a strong emphasis on tessilation as well as panel and fold, which we benefited highly froam as it allowed us to create highly complex and advanced shapes that wouldnt have been possible without such technology. The folds and curves of our design could have been easily created through deformation of the surface through the various digital tools provided to us.

In terms of a past project that was the most simiilar to our current design would have been the Air Force Academy Cadet Chapel by Walter Netsch. Netsch’s design is similar to ours in that it also possess a diamond tessilated design on it’s facade. The unique origami like folds and bends really relates to our design as it also realies on the folds of two- diThe angular structures of Netschs airforce chapel.

mensional panels to create three- dimensional form and volume. This can also be seen in the example provided in the Jon Ultzon’s Sydney opera house tunnel.

Volume created by the folding and bendin of the 2D panles.

Volumes created in our design by the curving of the flat diamond panels.

READING APPLIED TO DESIGN “Making becomes knowledge or intelligence creation�

STAGE 1- DESIGN

STAGE 2 - DIGITAL DESIGN IN RHINO

Michael Speaks.

Rhinoceros 5 was the program used to generate the pattern used for laser cutting.

Throughout our entire design process, we had done a mixture of design and making therefore the lines between design, fabrication and prototyping became blurred. (Iwamoto, 2009) Design plan created using overlapping pieces of tracing paper.

Build 3D model IN rhinoceros and try different sized of spikes on

Another aspect that was greatly different was having to use Rhino to do the design which was the better media at conveying the design proposal (viewing the model from differnt viewpoints) as such digital representation afforded a more seamless transi-

STAGE 3 - FABRICATION - BUILD LASERCUTTING PATTERN

STAGE 4 - FABRICATION - FOLDING POLYPROPYLENE

tion between design and making. (Iwamoto, 2009) since it was easier to create the models based on the digital model rather than relying on drawings.

The fabrication process was a huge contrast with the design process, as previously designs were created mainly out of paper.

Laser cutter helped us to try different materials which are very hard to make by hand, which makes our life easier.

Red - Etch Black - cut

close-up of Polyproperlene Patternisation created by the laser cutter.

PROTOTYPE DEVELOPMENT - SHOULDER MODULE In order to attach the defensive panels to the body. Developing a suitable shoulder panel was paramount to our design. Most of the panels that were created were the variations original meant for the original design.

Due to being placed on the shoulder which possess a smaller surface area to the back as well as not being our main form of defence. Therefore we devised to styles of smaller diamond panels.

SHOULDER MODULE 1 - VARIATION WITH SMALL DIAMONDS - the small diamonds of this variation

SHOUDER MODULE 3 - DEVELOPED FROM MODULE

are designed in a way to crumple when compressed and are meant to exemplify the idea of

1 - the large flat shapes are meant to fit cleanly

pinching together in order to create pattern variation in the design as well as something that

on the shoulders while the segment of smaller di-

can better fit and suit the arms.

amonds are meant to be attached to the back middle panel. This design only had three diamonds

The design although interesting, was later abandoned due to the ridgidity of the polyproperlene

which doesn’t quiet fit on the shoulder as the limit-

preventing the diamond from being folded as many times as we reauired despite the shape

ed amount of flat diamods do not quiet fold prop-

possessing more etch lines.

erly, therefore not being able to sit firmly on the contours of the shouders.

SHOULDER MODULE 4 - SMALLER VERSION OF THE CONSISTENT DIAMOND PANEL - Similiar to the large panel, this design is meant to possess an even amount of flexibility on the design. Although this design was meant to mimic the it’s larger counterpart, the diamonds were to small therefore it actually turned out to have the same weakness of the shoulder module 1.

SHOULDER MODULE 2 - DESIGN WITH CONSISTENT DIAMONDS- This panel’s consistent var-

SHOULDER MODULE 5 - Large diamonds in the middle- A panel of smaller diamonds conatin-

iation in diamond shapes is the most flexible as all of the diamond panels all possess the

ing four large diamonds in the middle. The idea for this design was to use the smaller diamonds

same folding ability all over the modules.

as a method of compressing onto the shoulder so that the larger diamonds on the shoulder.

RED LINE - ETCH BLACK LINE - CUT

Shoulder Module 1: This one owns dense and small diamonds at bottom and shows a transition within the whole module, which is a very interesting one. While due to the rigidity of polyproplyene, the small diamond is very hard to fold and pinch which will make the small diamonds easily broken. Also, as there are no enough medium diamonds, it’s hard to make volume that could let this module fit onto the shoulder

Shoulder Module 5: Although this design was meant to mimic the it’s larger counterpart, the diamonds were to small therefore it actually turned out to have the same weakness of the shoulder module 1.

PROTOTYPE DEVELOPMENT - SHOULDER MODULE 3

MODULE 1 -> MODULE 3

Because we really like the transition idea in module one, so we keep trying to make the shoulder module fit onto the body more, some large panels are cut to fit the curvity of shoulder. And according to the pattern after cutting, we get module 3, which is quite fitting onto the shoulder, however, cosidered that the shoulder panel need to be tight and strong enough as the connector and supporter for the large back panels, this one is still not good enough.

Module 3

Developed from module 1 by cutting some large diamonds

MODULE 3 ONTO THE BODY

PROTOTYPE DEVELOPMENT - PINCHING Considered to make the shoulder module capable of creating volume and fits onto the shoulder, we try to use the way of pinching, whic lets the diamonds fold more tightly and silmultaneously change the shape of shoulder module(especially sides).

Folding diamonds

Principle of pinching (Fold more tightly)

Developed form module 1, it doesn’t suits shoulder well and is not tight enough due to the large volume it made.

Developed from the originally dense moon cresent, this is the one we adopted on shoulder eventually, which is very supportive and nicely shaped.

PROTOTYPE OPTIMISATION - SHOULDER PANEL JOINT After Testing out all of the smaller modules it was found that shoulder Module 2 was the most successful of the shoulder pieces as we it possessed the greatest folding and pinching ability without the risk of breaking. Furthermore the smaller shoulder modules (3 and 4) were able to be placed on the shoulder, they simply did not possess the length or the curvature to be attached on to the back panels while also being able to be supported on he shoulder.

The next step in our design process was to work out ways to connect the modules together.

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Strings: By criss-crossing springs togther we able to effective-

Next we tested using a ring with the intention of using some-

Pop rivets: The idea was to use pop rivets in pairs were used to

ly sow the two shoulder modules together. While the strings

thing that wasn’t quiet as visible as the strings. However the

create fixed points in order to hold the shoulder panels togeth-

themsleves were strong enough to hold the modules in place

ring did not create the fixed joint that we wanted due its

er. However after using a single rivet even I small black one,

the strings themselves were highly visible and we believe they

round nature.

was very visible and apparent.

detracted from our system of panel and fold.

PROTOTYPE OPTIMISATION- SHOULDER PANEL JOINT

Shoulder panels

Pinching

Cable ties

Back panel

Strategy for how to use cable ties to attach the shoulder panels to the middle back panel.

Cable ties: Due to the success of using cable ties to attach the spikes down, we decided experimented using cable ties on the polyproperlene sheets.An added advantage was that the zip ties bended in with the polyproperlene thus not interferring with our design. Therefore cable ties were once again used as a way to connect our pieces together.

FINAL - FABRICATION SEQUENCE After the digital process we began the production of our first moving prototype of our moving component. By using clear polyproperlene, we folded our defensive panels like we had been doing throughout our design process. However we due to the rigidity of polyproperlene as well as requirement for it to fold, the panel had to be relatively flat. However the spikes were still folded and protuded as usual.

External frontal defensive layer with spikes protuding. However as seen we didnt feel like the defensive spikes would be long enough.

Rhino File of the two lengths of spike extrusions. 10cm and 20cm. We decided to use extra spikes because the shorter spikes aren’t quiet enough to protect personal space.

Cable ties were used to attach the spikes onto the di-

Cable tiei

amond panel.

A drill was used to cut holes into the panels in order for

The clea

cable ties to be woven into the panels.

The clea

erlene a

Single Rivot joint combining the three panels together. This joint is the element of our design that allows for the movement in our model. However the rivet wasn’t always stable and would at times fallout.

While the rivit does provide the pivoting element that was required, it was ultimately unstable which would sometimes fallout.

As a result we decided to use a bolt as it a lot sturdier

ing strategy.

than the rivet while also not interferring with the pivotig

ar cable ties attached on to the diamond panel.

process.

ar cable ties are the same colour as the polyprop-

and are also very strong keeping the spikes in place.

The three panels are being attachd together by a rivet gun. this was not only used as method of connection but used to create the movingjoint necessary in our design.

FINAL - FABRICATION SEQUENCE

COMPLETED BACK DEFENCE

FINAL - FABRICATION SEQUENCE

Compressing the etched lines of the dia-

In order to solve the problems dsiccov-

Cable ties used to create the pinching

mond folds manually. As discovered in M2

ered previously with the compression of

technique.Similar to the spikes, the cable

the rigidity of the polyproperlene meant

the polyproperlene by hand, we decid-

ties were tied to the bottom of the poly-

that the folds were extremely difficult to

ed to opt to using a table press in order to

properlene in order to hide the cable ties

fold and compress by hand as all of the

get achieve the desired effects on with

“heads�.

material was quiet resistant to compres-

our diamond patterned surface. The Ta-

sion forces even with etch lines. There-

ble press appiled are more force evenly

fore compression by hand meant that

through the properlene which was not

the panels were unevenly compressed

possible by hand, thus capable of cre-

with certain areas namely the sides of

ating an evenly folded diamond panel.

the module being compressed while the diamonds closer to the centre remained realtively flat.

FINAL MODEL

FINAL MODEL

FINAL DIGITAL MODEL

FRONT VIEW

ISOMETRIC VIEW

DETAIL - ARM BENT

ISOMETEIC CLOSE-UP

BACK VIEW

DETAIL - ARM BENT

ASSEMBLY DRAWING

ASSEMBLY 2 3 1 BACK (right)diamond panel Left piecePANEL of the spiky

Right piece of the spiky diamond panel BACK PANEL (left)

SHOULDER PANEL Left piece of the spiky(right) shoulder crescent

SHOULDER PANEL (LEFT) Right piece of the spiky shoulder crescent

Flat diamond panel at the back FLAT PANEL (back middle) 1 Spiky back parts fixed at top

2 Shoulder parts with smaller spikes

3 Singular middle flat part at the back

SECOND SKIN - PERSONAL SPACE REDEFINITION

The back facing orientation of spikes points out our newly discovered perspective of personal space. As the back space is an invisible area, the individual distance of people behind the user can’t be ensured.

Therefore, we designed back panels with long spikes to activate the passively defensive mechanism at back and ensure the least distance with people behind. Moreover, the side and front space are expanded via bending arms to make the spikes follow arm’s motion to stand out. According to the body analysis, The angle of motion is a natural and often subconscious response to any outside intrusion.Hence, we took advanBack space expansion achieved by long spikes

Side space expansionachieved by motion

Front space expansion

tage of this motion and developed our design based on the hard edged geometric design in order to serve as an outward manifestation of our inner insecurity.

Our initial concept is developed from hedgedog’s defensive mechanism - when intruders come, they will spikes out to drive them out, which is achieved by emotion effects. And our ddesign exactly emphasises spikes to show the user’s emotion, which is achived by motions.

Design Process

SECOND SKIN - TESTING EFFECTS OUR SECOND SKIN PROJECT IS MAINLY ACHIEVED BY SPIKES AND MOTION, WHICH GIVES EMOTION EFFECTS

EXPAND FRONT & SIDE SPACE

SHOWING THE LARGEST PERSONAL SPACE THIS PROJECT CAN EXPAND

EMPHASIZING HANDEDNESS - EXPAND ONE SIDE

AMPLIFYING THE EMOTION EFFECT - WHILE MAINLY FOR DEFENSIVE NOT FOR ATTACKING

SHPOWING THE PERSONAL BOUNDARY TO OTHERS

APPENDIX Iwamoto, L., 2009, Digital Fabrications: architectural and material techniques, Princeton Architectural Press, New York Kolarevic, B., 2003, Architecture in the digital age- design and manufacturing, Spon Press, London