DIGITAL DESIGN + FABRICATION SM1, 2016 PHALANX Jiexin Wang 825924 Amanda Masip Tutorial #7
“PHALANX� SECOND SKIN PROJECT - PANEL AND FOLDING
INTRODUCTION In the subject, Digital Design and Fabrication, ENVS20001, students were tasked to create a wearable architecture. To treat the body as a site, site analysis here is to explore, measure, analyse and negotiate boundaries of personal space. The second skin has to be volumetric, accommodating the body and reflecting inner emotions. As a medium of showing personal boundary, our second skin act against extreme emotions of discomfort, violation and attack. In the most of time, it falls effortlessly, involving in the surrounding environment under the relaxing state. While intruded, it stands out. To achieve these factors, multitude of mediums are utilised to manufacture the second skin project mostly related to digital design and fabrication. And this journal documents the process from initial sketch design to final digitalised model and 1 to 1 physical model, which is distributed in 4 episodes, Ideation, Design, Fabrication and Reflection.
CONTENTS
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M1.0 IDEATION 1.1 Object 1.2
Object + System Analysis
1.3 Volume 1.4
Sketch design proposal
1.5
Review
M2.0 DESIGN 2.1
Design development intro
2.2
Digitalization + Design Proposal v.1
2.3
Precedent research
2.4
Design proposal v.2
2.5
Prototype v.1 + Testing effects
M3.0 FABRICATION 3.1
Fabrication intro
3.2
Design development & Fabrication of prototype v2
3.3
Design development & Fabrication of prototype v3
3.4
Final Prototype development + optimisation
3.5
Final digital model
3.6
Fabrication sequence
3.7
Assembly drawing
3.8
Completed second skin
M4.0 REFLECTION 5.0 APPENDIX
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1.0 IDEATION In M1 ideation, we explored “panel and folding� systems and try to extract design ideas from the prototype. Through a series of observation, play and measure on the fan, the logic of this system has been accurately experienced. Based on analysis and digital modelling, a sketch model is made as a reconfiguration and test for material system, acting as a very start idea for the first series of sketch design.
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M1.1 Object To better understand the system we selected, the ideation phase began with the traditional measuring process of the object regarding panel and folding. The paper fan was measured by two steps. Firstly, I put the fan onto the scanner and trace the printed paper following the scale 1:1 to get a shape. Then I used a protractor to remeasure the angle of the fan to avoid the errors that might be caused by fan’s resilience. After accurately tracing the plan and pattern of the object, I utilised a ruler to ensure the longitude of blades due to its rectangular and geometric shape. As for the sector, a string is utilised to follow the curve to get the perimeter.
558mm
98mm
302mm
102mm 200mm
For the digital model, as the fan is consisted of identical elements’ folding. The whole model can be done from modelling single elements. Hence, I mainly use surface, extrusion to do the blade and end blade. After drawing single elements, I used the command “arraypolar” to rotate and copy the elements. Meanwhile, because the fan is a presence of folding, the blades and sector are in different surface, so I change the height of blade one by one until the skin bone shown in the picture. And I repeated the same steps for drawing sectors.
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M1.2 Object + System Analysis
Through the physical measuring, digital modeling and graphic analysis of the paper fan. I had a better understanding of panel and folding system. The material system of the fan allows its flexibility, which provides more possibilities to create various volume in terms of different angles of folding.
The shape of line works changes with the angle and ways of folding changes. And the smaller angles we turn into, the more complex ways we fold or stretch, the more layers and more complex volume we can create.
The solid line works depicts the shapes presented by various folding and stretching. The gap between two folding planes are the potential volume that could be made.
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M1.3 Volume
In the making workshop, I test the flexibility of paper through simple process of folding, cutting and layering paper. Through the testing, I was able to see certain material could change their volume and even transform their properties according to the folding lines. For examples, by making along the folding way of paper fan, the differentiation of the stiffness and rigidity of the paper depending on the placement and distance to those folding lines from one to another. I start from folding squares. During the process, I found sector shapes can create larger volume. Through using layers, density, changing of sizes, I made an element which is able to create spaces and have potential to achieve “individual distance�.
compressing
Layering
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M1.4 Sketch design proposal
This model is designed for people who feels stresses to communicate with others, who don’t want to be paid attention to, but still interested in others. Inspired by gangway of tram, I make this sector shaped garment foldable to make it multi-functional, and then people can decide to fold or open, which depends on their mood of the time. Another interesting point is it can present different shape when acting different function, which simultaneously made itself potential and developable.
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The garment is designed for people who reject to communicate and want a fully personal space. It is consisted of identical elements - a enclosed folding sector with changing sizes. They start from dense and small into large and loose, which simultaneously represents people’s mental state that the closer others come, the more alertness people will own. The layered modules exponentially increase in size and spike outwards to rais a sense of attacking.
This model is for people who need physically personal space(e.g. tram, train or crowded street), which helps people to avoid the unwanted body touches and make the personal boundary visible. Moreover, this model was inspired by expanding ball that can create large volume from a very small state through streching out. And this characteristic makes people easy to carry and utilise. As people usually have less tolerance in their front space than side ones, the model promises a large free space in front of people. And the identical elements that consist the model are wood blades, connecting in two ends to fold together.
M1.5 Reflection
Through the study of module 1, I learnt how to analyse an object rationally and irrationally through doing measured drawing, digital model, related sketch model and design of it. Treat it as a whole, observe and analyse it in fragments, extract the working principles via exploring its materiality, ways of folding.
Paper fan as a typical object of panel and folding system gives me a better understanding of this system and informs me to do more exploration on the materiality and changeability of the volume. After the study module 1, I know what the general design process is and what the main aspects worth to be emphasised like the materiality and its potential to create different volume. The working principles of the object and the process of exploring inspired me a lot in the later study about designing the second skin.
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2.0 DESIGN Based on the ideas of second skin in M1, we worked as a group and keep exploring materiality and experimenting on the visual and emotional effects. The design process works through sketch design, digital modelling, precedent research, making prototypes and testing effects.
Jiexin Wang 825924 Yingkai Chen 834103 Qingyang Qin 813203
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Ying’s design
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My design
Qingyang’s design
M2.1Design development intro - combining ideas
DESIGN INTRODUCTION As we came to a group, three of us decided to combine each idea of our last module. And the combined design was based on the curved crescent shapes from Ying’s design, which wined around the body against outside intrusion. Moreover, the beautifully curved flowing shape tends to follow the movements and contours of the body. However, as the design is in profile and section system, hence, the curvaceous forms are rigid and inflexible on their own, which cannot fulfill the user’s dynamic and ever changing personal space. To improve its functionality, Qingyang and my design regarding the closing and opening ideas are adopted, which can largely increase the flexibility of design. Then we come up with the crescent moon shape.
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M2.2 Site analysis We recorded a series of motions people would take when their personal spaces are violated. And we found that people usually take different gestures to expand their personal boundary in different degrees of intrusion. I utilise a shadow drawing to exhibit the “area with invisible boundaries surrounding a person’s body into which intruders may not come (Sommer 1969, p26)”. Meanwhile, we found people pay more attention on their upper body and side space, holding the most vulnerability on head part where one’s mind – the site of deliberation and personal identification is. When deciding between the best method in protecting one’s personal space, we decided to take a note from nature. one of the primary case studies our group used was the defensive traits of the hedgehog. The spines of a hedgehog are developed for protection against predators. When at a calm state the hedgehog’s spines are all confined to its back, leaving the rest of body visible and exposed. However, when the hedgehog is being threatened, they will curl up, making spines to stick up and expand covering its entire body.
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M2.3 Concept development Taking the same defensive system as the hedgehog, the concept of the spines were implemented into the exterior concurved surface of the design. This defence focuses on a primitive defence of “acting out� according to the theorys of Freud. In doing so, the spines serve as a deterent to all would be attackers and intruders of ones personal space.
Hedgehog Spines are compresses and confines when calm.
STAGE 1
Spikes hidden when module is in compression.
Hedgehog Spines expand and move around the body when threatened.
STAGE 2
Spikes become vsisble once horizontal tension is applied to the
Rough sketch of hedgehog spines Implementated into the cresent moon design.
STAGE 3
Spikes become erected once the module is fully extended horizontally.
The protuding spikes were created by cutting out one end of former mountain folds. which were then reversed. Due to reversing the already functional comprssing panle and folds. The spikes will extrude outward once the module was in tension and fully extended.
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M2.4 Digitalization + Design proposal v.1 This proposal is focusing on the personal space of user’s front space especially user’s eyes ahead. That’s because Matthew get more sensitive in his front and it’s harder to use defensive actions in front than side.
The (wrapping) denser crescent moon modules are designed to enlarge the personal boundaries instead of direct actions (Action 1, Action 2 photos on the right), which simultaneously leave a permeable space due to their curvy shapes. Meanwhile, this model is situational, shape changing with the variation of the user’s mood. So when the user only want to have the personal space, the model is half-opened with visible spikes; while the protruding spikes show, that represents user don’t want others to talk with him and even be close to him, giving a sense of attacking. What’s more, in order to easily get the emotion transformation, denser crescent moons are pined in pairs and controlled by strings holding on hands. The head part is consisted of folded moon crescents with less spikes in a fan shape, which hides the user’s facial expression. While the holes provides the user with the opportunities of observing others.
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M2.5 Digitalization + Design proposal v.2 This proposal mainly explores the user’s dominant hand. Research indicates that people usually need more space in their handedness, therefore, we build our 2nd design project on the right arm of the mesh body because Matthew is right-handedness.
The project starts from the head continuously going to the hand. As the head is the most sensitive part so we design smaller spikes here to avoid big hole that might cause more exposure. And the variation is presented on the transition of spikes’ size, from small to large eventually go small. And elbow will hold the largest spike because it is the most aggressive part.
The characteristic of folding makes the project able to be in different shape situationally. When the user is able to communicate with others, they can just close the crescent moons to make them fully folded, representing a sense of welcoming. While the user wants to leave him alone, he can open the crescent moon and hide himself.
This is the design we decide to keep exploring.
M2.6 Precedent Research PRECEDENT 1| Transparency / Sencond skin / Layer / Asymmetric In Amaya Arzuaga’s design, she plays the transparency of material by using organza to create a sense of second skin. She utilises the organza to make pleated petals on one arm to create permeable space rather than clinging to the skin. Because of organza’s softness, hard materials are also used to act as frames to support the shape, and they are usually off-set from the model’s body to enlarge the personal space. CONCEPT 1: The asymmetrical shape emphasiseS the user’s preferred side, which is same as the user’s dominant hand. CONCEPT 2: The transparency and the softness of this material made present the beauty of the body itself and makes the design be like second skin attaching to the user’s body. Inspired from this precedent, we decided add one more internal layer under the cresent moons by using the same material of precedent - organza to let the body get less exposure and enhance the sense of second skin, which high lights the body simultaneously.
3D Pleated Petal Dress by Amaya Arzuaga, 2011.
PRECEDENT 2 | Lighting / Negative Space The dress in the darkness is decorated with lights via installing them in the holes of small fans, which gives a fantastic effect of visualisation. Meanwhile, the cool lighting also empohasises the permeability of the dress. CONCEPT: The light is designed to highlight the garment’s pattern and simultaneously exists to explore the negative space of the body and to provide a great visual effect. Development 2 is to wrap lights onto the internal layer and position the small bulbs right under the cresent moon, which emit lighting from the hole. Negative space under the holes are explored and fantastic visual effects like precedent 2 are produced.
Cresent Moon Internal Layer Lighting Layer
Glow-in-the-darkness Dress By Pankaj & Nidhi, 2012
M2.7 Prototype At this stage, we tested different material and colour for the crescent moon module. White and black paper are used for the comparison of colour. Also, a series of moon crescent module are glued to test its continuity and flexibility. Meanwhile, transparent polypropylene is tested for a utterly different material. Due to its rigidity, we used laser cut to make cutting lines and etched lines, which makes our folding process much easier. PAPER (black & white) PROS - owns good flexibility, which is able to make spikes flexible, extendable as well as follow the movement of the module freely. CONS - not durable and it is getting broken with time. COLOR - Compared to black paper, white colour is more conspicuous, giving a stronger sense of dissuading intruders.
POLYPROPYLENE PROS - Transparent, beautiful, durable, strong CONS - Rigid, hard to expand and compress
HEAD - is the most sensitive part of our body. In our design, the flexbility of paper allows the user to open and close the module in different state. When in defensive state, the head is covered and the eye contact with strangers is avoided, while the hollows enables the vision in front of the user. When in relaxing state, the module is closed, representing a sense of inviting.
RIGHT ARM - acts as the dominant hand of Matthew. Many protective gestures are taken by the right arm. The design enhance the emtional effects.
RIGHT ARM - material combination, for a better illumination
Fabric: arm. Most soft and flexible part (interior layer)
INTERNAL LAYER - made by organza, is the most soft and flexible part for addressing lighting, which suits the concept of second skin.
M2.8 Testing effects We tested out two kinds of lights: Warm light and cool light for comparison and determine the better one to explore the brief. Meanwhile, through experimentation, exploration on the different chosen materials and how they react to the light was also something we had to pay consideration to. Through the exploration of warm lighting we were able to gain an understanding of how the light reacts with the various chosen materials and unique ways we can implement the use of lighting in our design. However, we also found warm light may not be the most appropriate in protecting personal space as it is by nature a more friendly tone of lighting which may entice intruders rather than dissuade. Due to the undesirable emotional effects of using warm lights, we decided to explore the usage of a cool light. In comparison to the warm light, the cool light gives off a less friendly feeling which is far more suitable for the brief. Therefore, we preferred the use of the cool lights over the warm lights to be implemented into our prototype model.
Our final test was to explore the usage of both cool and warm lights. Because we attempted to take advantage of the inviting qualities of the warm white with the more ominus esthetic of the more subdued white light. Through the combination of both warm and cool lights help to highlight and blanket the vital personal space of the user. Through the combination of both colored lights our aim was to see if we could combine the warm effects of comfort for the user with the cooler negative effects of the white light. However, this turned out to not be the case at all as what happened was that while the combination looked pretty, there was too much collision with the two opposing styles of light. Therefore, in the end we just decided to implement the cool lights into our prototype design,
M2.9 Reflection on M2
In module 2, we worked as a group. In order to get the best idea from our three, we combined the best features (e.g. shape, function, emotion effects.) from our previous design and extracted a crescent moon shape by folding paper. As the second skin project is comprehensively related to the user including his personality, preference and requirements. Hence, we did a specific site analysis on Matthew, and got the concept and direction we urgently need. From Matthew’s demand, we started to play the crescent moon module in his side space and head part. Meanwhile, we tried to create a defensive mechanism, and found hedgehog’s responsive behaviours are really useful for us, which is where we got the concept of “spikes” from. Rather than exploring it digitally, we firstly got a great physical prototype from the paper, which is a crescent moon shape with spikes that can open and close by following the module’s folding way. As Scheurer and Stehling (2007, p. 72) have argued that “Architecture is a process of communication. It is a long way from the designer’s initial idea to build the result.” We found difficulties when we build digital model when using panelling tools to create diamonds in different angle with extruded spikes and attach the design to the mesh body. We really struggled, while we eventually realised that, a perfect model does not contain as much information as possible, but as little as necessary to describe the properties of an object unambiguously (Scheurer & Stehling 2007, P72), there are many other ways to develop and refine the design. Therefore, we get back to develop prototypes and try more other materials by using laser cutter.
3.0 FABRICATION INTRODUCTION In module 3, we were mainly exploring the material of polypropylene and got more experiments on diamond pattern variation in order to better elicit and emotional response to further enhance our usage of defensive spike protrusions. Meanwhile, the idea of attaching extra longer spikes is also applied to amplify the defensive response. The design of internal layer and lighting in M2 are discarded here as they are so different with our whole design. The pinching idea is also applied to the crescent moon module, which creates more variations and flexibility as well as create a more dynamic flow in the design. Simultaneously, the scale of design is also considered here, as we’ve got suggestions of using large-scale module to enhance the flow and presence of the whole design.
Jiexin Wang 825924 Yingkai Chen 834103 Qingyang Qin 813203
M3.1 Design development V2 SKETCH DESIGN 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
Internal layer of panel.
panel covering the wearers face while the lower panel covers more of the 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 activated.
Defence inactive.
M3.1 Fabrication of Prototype V2
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.
M3.2 Design development V3 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.
M3.2 Fabrication of Prototype V3
Rhinoceros 5 was the program used to generate the pat-
STAGE 1- DESIGN
tern used for laser cutting. Throughout our entire design process, we had done a mixture of design and making therefore the lines between
STAGE 2 - DIGITAL DESIGN IN RHINO
design, fabrication and prototyping became blurred. (Iwamoto, 2009) 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 transition 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
Design plan created using overlapping pieces of tracing paper.
which are very hard to make by hand, which makes our life easier.
STAGE 3 - FABRICATION - BUILD LASERCUTTING PATTERN Build 3D model IN rhinoceros and try different sized of spikes on
STAGE 4 - FABRICATION - FOLDING POLYPROPYLENE
“Making becomes knowledge or intelligence creation� Michael Speaks.
Red - Etch Black - cut
close-up of Polyproperlene Patternisation created by the laser cutter.
M3.2 Design development V3
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.
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 necessary 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.
M3.3 Final Prototype Development 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.
M3.3 Final Prototype Optimisation 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
M3.3 Final Prototype Optimisation 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.
M3.3 Final 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.
https://www.walmart.com/ip/Jewelry-Basics-Metal-Findings-200pk-SilverJump-Rings-8mm/35670621
https://www.google.com.au/url?sa=i& rc=s&source=images&cd=&ved=0ahU hUCUZQKHf3rAG4QjhwIBQ&url=http%3
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
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 t
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 riv
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.
Shoulder panels
Pinching
Cable ties
&rct=j&q=&esUKEwi4w4H7uNvTA3A%2F%2Fwww.
Back panel
Strategy for how to use cable ties to attach the shoulder panels to the middle back panel.
p rivets in pairs were used to
Cable ties: Due to the success of using cable ties to attach the spikes
the shoulder panels togeth-
down, we decided experimented using cable ties on the polyproper-
vet even I small black one,
lene 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.
M3.4 Final Digital Model
FRONT VIEW
ISOMETRIC VIEW
DETAIL - ARM BENT
ISOMETEIC CLOSE-UP
BACK VIEW
DETAIL - ARM BENT
M3.5
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.
Cable ties were used to attach the spikes onto the diamond panel.
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.
External frontal defensive layer with spikes protuding. However as seen we didnt feel like the defensive spikes would be long enough.
A drill was used to cut holes into the panels in order for cable ties to be woven into the panels.
The clear cable ties attached on to the diamond panel.
The three panels are being attachd to-
Single Rivot joint combining the three panels together. This joint is the element of our
The clear cable ties are the same colour as the polyprop-
gether by a rivet gun. this was not only
design that allows for the movement in our model. However the rivet wasn’t always
erlene and are also very strong keeping the spikes in place.
used as method of connection but used
stable and would at times fallout.
to create the movingjoint necessary in our
While the rivit does provide the pivoting element that was required, it was ultimately
design.
unstable which would sometimes fallout.
As a result we decided to use a bolt as it a lot sturdier than the rivet while also not interferring with the pivotig process. Cable tieing strategy.
M3.5
Final Fabrication Sequence
COMPLETED BACK DEFENCE
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.
M3.6 Completed 2nd Skin
M3.7 Completed 2nd 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
M3.8 2nd 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
M3.9
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
M3.9 Reflection on M3
In module 3, our second skin enter into CAM processes that transforms digital design into physical, geometric edged model. Our design follows subtractive fabrication, utilizing laser cutter to create our prototype. And our second skin are also obtained from the planar patterns we designed in laser cutting templates. Laser cutting highly increased our efficiency and greatly reduced the difficulty brought by polypropylene’s rigidity. Simultaneously, it provides us accurate and clean finishes to assist our folding and pinching processes. Thanks to the laser cutting, we produced a lot of prototypes with different patterns in polypropylene easily. Different from the struggling in digital model last time, we mainly encounter the difficulty in terms of selecting prototype, apply the prototypes onto our body, as well as optimizing our prototypes, which also responds to the topic – Fabrication. For the optimization of shoulder module, in order to produce a prototype that can fit the curve of shoulder perfectly, we tried to pinch a lot of modules with different pattern. However, after pinching, only the original denser crescent moon module can perfectly fit onto the body, which makes us have no choice but giving up the prototypes with beautiful pattern. Also for the connection between shoulder module and back panels, we also tried a lot of ways, such as eyelets, rivets and sewing, finally we combined the use of cable tie and bolt to make them stable. Meanwhile, I also learnt a lot about groupwork from this module. In the design part, ying and I got different ideas, and we cannot understand each other’s design idea even after 3-hour discussion, which is such a waste of time. Finally, we separate the whole design into two parts, back and front, ying did the large back panels and I did the shoulder module, which makes things much easier. Therefore, I learnt that the work distribution and communication is so important in groupworks.
4.0 REFLECTION
This subject Digital Design and Fabrication served as a starting point of making the transformation process among the sketch design, digitalization and the physical structure. The transforming order is not certain, while the general idea of using different mediums to proceed the design and produce the physical model is clear. Through the whole semester study, our design started from sketch design and concept modelling, but using digital modelling to help us understand the abstract concept and tectonic composition. Then, we get into the stage of design, by combining us three sketch design, we produced our first prototype by folding paper. At this stage, digital modeling is the medium helps us to see how the project would be in different composition, giving us strong spatially visual support. Meanwhile, the digital modelling (2D & 3D) helps us to achieve the production of prototypes with complex pattern in materials that is different to make manually. At the stage of fabrication, the laser cut highly improves our efficiency, which give us opportunity to try different patterns of prototype and different compositions. The techniques of transforming sketch design into 3D digital model, using digital model to refine the design as well as fabrication are really important in my future architectural study. Through the whole semester of making the 1 to 1 scale second skin project, the most things I learnt from is actually group work, how to let groupmate achieve their effort in maximum, how to distribute work properly, how to communication with groupmates, how to compromise your idea and groupmate’s idea of design. All of these questions cannot be answered before I learning this subject, but I can answer some of them now. As a building cannot be achieved by one person, so engaging yourself into group work and compromise your design idea is so significant in the process of getting a better design. Meanwhile, I also realized the fabricated result can be very far from your initial idea and visualization in the mind, however, keep exploring, not give up the good idea or prototype are the key principle. For us, due to the limited time, unfortunately, we didn’t have enough determination to apply some of our beautiful prototypes into the final design. All in all, this subject provides me an opportunity to see, not only the second skin project, but more about the mass customization we can do and the complex concept we can transform.
5.0 APPENDIX Bibliography Asperl et al, 2007,Surfaces that can be built from paper / In H.Pottmann, A.Asperl,M.Hofer, A.Kilian (eds) Architectural Geometry, p534-561, Bentley Institute Press Kolarevic, B 2003, Architecture in the Digital Age - Design and Manufacturing /Branko Kolarevic. 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 / Robert Sommer. Englewood Cliffs, N.J. : Prentice- Hall, c1969.A Spon Press, London Marble, S, 2008. Building the Future: Recasting Labor in Architecture/ Philip Bernstein, Peggy Deamer. Princeton Architectural Press. pp 38-42
Credit Page Drawings Cover P2-3 P4-5 P6-7 × P8-9 × P10-11 × P12-13 14-15 ××× 16-17 ×× 18-19 × 20-21 × 22-23 ×× 24-25 26-27 28-29 30-31 32-33 × 34-35 36-37 × 38-39 40-41 42-43 × 44-45 × 46-47 48-49 × 50-51 52-53 54-55 56-57 × 58-59 60-61 62 63 64 64 65 67 68 69 70 71 72 73 74 75 76 Jiexin Wang Yingkai Chen Qingyang Qin
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