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Contents: 1.0 Ideation 1.1 Object: 1.2 Object + System Analysis 1.2 Volume 1.3 Sketch design proposal
2.0 Design 2.1 Design development intro 2.2 Digitization + Design proposal v.1 2.3 Precedent research 2.4 Design proposal v.2 2.5 Prototype v.1+ Testing Effects
3.0 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 2nd Skin
4.0 Reflection.
5.0 Appendix 5.1 Credit 5.2 Bibliography
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1.0 IDEATION
RECONFIGURED THE EGG CUTTER THE EGG CUTTER COULD BE RECONFIGURED INTO A SERIES OF CIRCULAR AND HORIZONTAL SECTIONS WHICH CREATE NEGATIVE SPACE -PROFILE.
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-IDEATION -1.1. OBJECT
MATERIAL
METHOD OF TAKING MEASUREMENT I HAVE USED SERIES OF METHODS TO TAKE THE MEASUREMENT. THE BEST PRECISE WAY TO DO IT IS TO PHOTOCOPY THE OBJECT IN PLAN VIEW AND TRACE IT AT THE SCALE OF 1:1. I TOOK TWO COPIES WITH THE OBJECT AT TWO CIRCUMSTANCES, ONE IS IN OPENED STATUS, THE OTHER IS IN CLOSED STATUS. IN WHICH, DIFFERENT LENGTH OF THE OBJECT OCCURS. THE MAX LENGTH IS 2103MM, AND THE MIM LENGTH IS 1018MM. HOWEVER, THIS METHOD WAS NOT APPLICABLE TO MEASURE THE SPHERICAL AND VOLUMETRIC PARTS. FOR THE ELEVATION AND SECTION, I USED STEEL RULER TO TAKE THE OTHER MEASUREMENTS SUCH AS THE DIAMETR OF THE BLADE AND THE DEPTH OF THE CUTTER-CENTRAL SQUARE TO DRAW IT IN AUTOCAD IN THE SCALE OF 1:1.
- BODY: POLYPROPYLENE (GOLD / HEAT RESISTANT TEMPERATURE -20 DEGREE~120 DEGREE) - BLADE: STAINLESS STEEL
SUBJECT
EGG CUTTER-SQUARE
DIMENSION
LENGTH OF THE WHOLE EGG CUTTERBASE, 2103MM CUTTER-SQUARE, MAX, HEIGHT, 257MM, MIN, HEIGHT, 220MM.
DIGITAL MODEL OUTPUT
EGG CUTTER IN MOTION 0째-180째
Unit: Millimeter
THE ABILITY OF THE STEEL BLADE IS TO TRANSFORM AND CHANGE THE ANGLE TO INCREASE ITS FUNCTIONALITY. AS THE CURVED GAP IS DESIGNED TO SET THE EGG IN THERE, THE EGG IS ABLE TO BE CUT IN SLICES EFFICIENTLY. THE FUNCTION IS TO USE POSITIVE AND NEGATIVE SPACE.
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-IDEATION -1.2 OBJECT ANALYSIS PARTS AND JOINTS
THE ROTATION OF THE JOINT ALLLOWS THE STAINLESS STEEL BLADE TO MOVE FROM 0째 TO 180째 AS THE TRANSFORMATION OF THE BLADE ENABLES THE STEEL WIRE TO CUT THE EGG IN PIECES.
X2
X2 X2
X8
Unit: Millimeter
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M1
-IDEATION -1.3 VOLUME SKETCH MODEL CONCEPT
BY USING NOTCHING METHOD, THE IDEA OF POSTIVE AND NEGATIVE SPACE IS USED IN THE SKETCH MODEL.
LEFT VIEW SCALE 1:5
THE CONNECTED POINT THE CONNECTION OF THE TRANSLUCENT MATTE PLASTIC PAPER IS BY INSERTING THE TWO PANELS. THE STRUCTURE IS STABLE AS THE MEMBRANE NOTCHED TOGETHER. PERSONAL SPACE HAS CONNECTIVE POINT WHICH REFERS TO THE CONNECTION WITH OTHER PEOPLE IN THE SOCIETY.
PLAN VIEW
CUMULATE VOLUME
ISOMETRIC VIEW
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THE STACKED MATTE PLASTIC PAPER FORMED A WAFFLEDPATTERN CUMULATIVE VOLUME. THE CONCEPT OF CUMULATE VOLUME CAN BE APPLIED TO THE PERSONAL SPACESELF PROTECTION & SECURITY.
RIGHT VIEW
M1
-IDEATION -1.3 SKETCH DESIGN PROPOSAL
VISIBILITY /TRANSPARENT/ INTERSACTION
THE INSPIRATION OF USING THE CROSSING LINE AND THE INTERSECTION BASED ON THE CUTTER-SQUARE CENTRAL PATH TO CREATE NEW PATTERN AND VOLUME. AT THE END OF THE SERIED PANELS, THERE’S APPLICABLE SPACE TO LOCK THE ENTILE STRUCTURE . THEREFORE, DEPICT THE PERSONAL SPACE AND HAVE A FEELING OF COMFORT . THIS CONCEPT MAKES THE PERSONAL SPACE EXTRAORDINARILY VISIBLE TO OTHER PEOPLE AND CLEARLY DEFINED THE INDIVIDUAL DISTANCE. ON THE OTHER HAND, AS THE PROPERTY OF THE MATERIAL IS TRANSPARENT, THERE’S A SENSE OF OPENESS TO THE OTHERS.
TRANSPARENT /DEPLOYABLE/LAYERS/
LAYERS /CONTRAST /PROTEC-
CONNECTIVE
TION OF PERSONAL SPACE
THE IDEA IS TO USE THE MOVEMENT OF THE STEEL BLADE AND ITS REFELCTIVE SHADETO CREATE SERIES OF TRANSPARET PANELS AROUND THE SUBJECT. IN THE WAY OF FIXED CONNECTION, THE PANELS CAN BE WARPPED AROUND THE NECK LIKE SECOND SKIN. PEOPLE FEEL SECURE WHEN THE PERSONAL DISTANCE CAN BE SEEN. HOWEVER, IF THE STRANGERS COME CLOSER AND REACT INOFFENSIVE, THE ORIGINALLY CLOSED PANELS CAN BE OPENED UP AS THE PANELS CAN BE DEPLOYED EASILY BY CONNECTIVE JOINTS.
THE IDEA IS TO UTILIZE THE SHADED SPACE TO REPRESENT THE OFFENSIVE SCOPE AND INCORPORATE WITH THE NEGATIVE SPACE TO LAYER UP AND FORM A VOLUME. THE JOINTS IS USED BY STACKING TO THE GAP FOR EACH PIECE OF PLANE. THE HALF-OPEND STRUCTURE WRAPS AROUND THE LEFT SHOULDER TO AFFORD PROTECTION. THE POSTIVE SPACE OF STRUCTURE DEPICTS THE WAVES OF BOUNDARY. IN CONTRAST, THE NEGATIVE SPACE OF STRUCTURE REPRESENT THE OPENESS TO THE OTHERS. THIS CAN BE CONSIDERED AS CONTRADICTION, BUT ALSO CAN REFER TO THE INFLUENCE OF THE GENDER, CULTURE, ENVIRONMENTS ETC.
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2.0 DESIGN
M2
-DESIGN -2.1 DESIGN DEVELOPMENT INTRO COMBINING IDEAS THROUGH FINDING KEY WORDS: INVISIBLE / PERSONALITY DEVELOPMENT / DEFENSIVE MECHANISM / NEGATIVE SPACE A PROTECTION GEAR THAT CAN BE DESIGNED TO WRAP AROUND CERTAIN SENSITIVE AREAS OF BODY. CREATE AN ILLUTION THAT THERE ARE INVISIBLE FEATURES WRAPPING AROUND THE BODY INSTEAD OF SOLID COSTUME. GIVE THE PERSON A SENSE OF PROTECTION BUT ACTUALLY STILL INTERACTING WITH THE OUTSIDE. PEOPLE ARE AWARE OF THEIR PERSONAL SPACE BECAUSE WHEN THE SPACE IN INTRUDED BY OTHERS IT TRIGGER THEIR EMOTION (EG. FEAR, ANGER, SHYNESS, LOVE ETC). EMOTIONS ARE GENERATED FROM HUMAN’S BRAIN, TRANSFER SIGNALS TO OTHER PARTS OF THE BODY THROUGH NERVOUS SYSTEM. HUMAN BODY THEN WILL HAVE CERTAIN REACTIONS ACCORDINGLY SUCH AS HEART BEATING RATE INCREASE HENCE THE CHANGE IN TEMPERATURE IN DIFFERENT BODY PARTS. THIS DESIGN WILL PROTECT THE HEATED PARTS OF BODY (AS THEY ARE BEING MORE SENSITIVE/OFFENDED).
Sketch Model- Illusion/ Invisible/ Negative space/ Protection, Hoi Yin HO, 2015
HUMAN EMOTION TEMPERATURE, 2014
1.WE CAME UP WITH A PATTERN THAT AFTER OFFSETTING INTO MANY PIECES, WILL CRAFT OUT THE NEGATIVE SPACE OF WHERE OTHER APPROACHING PEOPLE SHOULD BE (SET OUT A LIMIT OF GETTING NEAR). ON THE SIDE, THE PATTERN FOLLOWED THE HUMAN BODY STRUCTURE OUTLINE TO CREATE MULTI-SECTIONS IN ORDER TO NARRATE DISTINCTIVE PERSONALITIES.
SKETCH MODEL - NEGATIVE SPACE/ CONNECTION POINTS/ CUMULATE VOLUME, JIA YUN KE, 2015
2.THE BODY PART WILL BE THE MAJOR PROTECTION PART (GRID) AND ALSO WHERE THE TWO PARTS OF DESIGN JOIN TOGETHER.
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-DESIGN -2.2 DIGITIZATION + DESIGN PROPOSAL 1. IN THIS MODEL, ALL THE COMPONENTS ARE PUT ON THE LEFT SIDE OF THE BODY TO SHOW AND EFFECT THAT THE PANELS ARE DEVELOPED FROM THE BODY AND ROTATING.
2. THE VERTICAL PARTS ARE CURVED AS THE PERSON’S SIDE PROFILE, MEANING THAT THE PERSON IS REVEALING HIS ANOTHER SIDE BUT AT THE SAME TIME PROTECTING HIMSELF.
3. THE HORISONTAL PARTS ARE A SERIES OF PANELS EMBRACING THE HUMAN BODY TO GIVE THE PERSON A SENSE OF SECURITY. 4. THE WHOLE DESIGN IS SHOWING THAT THE PERSON IS IN PHASE OF STRUGGLE (MENTAL CONTRADICTION) AS PART OF HIM WANTS TO UNRAVEL THE PERSONALITY TO THE OTHERS, WHILE ANOTHER PART OF HIM IS STOPPING HIM. ISOMETRIC VIEW
FRONT VIEW
TOP VIEW
SIDE VIEW
1. THE DESIGN WILL HIDE THE RIGHT PART OF FACE AND LEAVE THE LEFT PART OPEN TO SHOW THE PERSON IS STILL WILLING TO COMMUNICATE WITH OTHERS JUST THAT A SAFE AND COMFORTABLE DISTANCE IS KEPT. WHEN LOOKING FROM THE SIDE WAY, THE PANELS WILL ACT LIKE A COVER (OR CAMOUFLAGE DEPENDING ON MATERIAL) WHICH HIDES THE PERSON.
FRONT VIEW
ISOMETRIC VIEW
2. BY LOOKING AT THS SIDE WAY, THE VERTICAL PANELS ARE TAKING UP MORE SPACES AT THE PERSON’S BACK TO PROVIDE BIGGER PROTECTION.
SIDE VIEW
3. COMPARING WITH MODEL 1, THE PANELS ARE MORE GEOMATRICAL AND MORE POINTED AT CORNERS. THIS GIVES OUT A SENSE OF RIGIDNESS, SECURITY AND STRENGTH.
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TOP VIEW
M2
-DESIGN -2.3 PRECEDENT RESEARCH
THE DROP SERIES (2009) BY OLIVIA DECARIS
ISOLATION / PRIVACY / INTIMACY / CONCENTRATION / ENCAPSULATION
DESCRIPTION OF PRECEDENT
THE DROP SERIES BY OLIVIA DECARIS, 2009
THE PRECEDENT GAVE US AN INSPIRATION OF HOW THE PERSON CAN REACT AND MOVE WITH THE DESIGN IN ORDER TO FEEL THE EMOTION AND EFFECT PROVIDED (EG. WANTING TO HIDE AWAY/ SCARED).
IN OLIVIA’S DESIGN, SHE WANTED TO PROVIDE A SHELTER THAT CAN ENCAPSULE DESKS OR BEDS AND ENCLOSE THE AREA, WHICH GIVES THE USERS SENSE OF PRIVACY AND PROTECTION. IT ALSO BLOCK USERS FROM DISTRACTIONS HENCE ALLOWING USERS TO BE ENTIRELY FOCUSED. THE STRUCTURE CAN BE LOWERED OR RAISED ABOVE WHICH ALLOWS USERS TO ADJUST THE LEVEL OF PRIVACY THEY WANT.
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-DESIGN -2.3 PRECEDENT INFLUENCE
AFTER THE PRECEDENT RESEARCH, WE DECIDED TO NARROW DOWN OUR DESIGN JUST TO FOCUS ON THE EMOTION ‘FEAR’ WHICH IS THE MOST SENSITIVE EMOTION TO APPROACH THE MEANING OF THE PERSONAL SPACE. WE THEN ANALYSED THE REACTION OF PEOPLE WHEN THEY FEEL FEA/ IN SHOCK.
ISOLATION / PRIVACY / INTIMACY / CONCENTRATION / ENCLAPSULATION
(1) RAISING SHOULDERS
FEAR
(2) COVERING FACE/HEAD
(3) CURL UP TO A BALL/ HIDING
ACORDING TO STUDIES, FEAR IS ASSOCIATED WITH INCREASED ACTIITY IN THE CHEST AND UPPTER BODY, HENCE THE TEMPERATURE WILL ALSO BE HIGHER AS SHOWN IN THE PICTURE ON THE LEFT. ALSO, ALL EMOTIONS ARE TRIGGERED FROM OUR BRAINS AND SPREAD OUT THROUGHT NERVOUS SYSTEM.
ADDING ON OUR PRECEDENT STUDY, WE ARE ALSO ALLOWDING THE PERSON TO FULLY COVER THE UPPER BODY TO PROVID A HUGGING AND PROTECTING EFFECT. THEREFORE WE HAVE TO MEASURE SORTS OF DIMENSIONS OF THE UPPER BODY.
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SHOULDER WITH: 415MM
UPPER BODY LENGTH: 380MM
WITH THESE NEW INFORMATIONS, WE DECIDED TO CHANGE OUR DESIGN TO EXPRESS THESE KIND OF EFFECTS. WE WANT TO CREATE SOMETHING THAT CAN SHOW ONE’S FEELING WHEN THEIR PERSONAL SPACE IS INTRUDED, AND ALSO PROVIDED A CALMING AND HIDING SPACE.
M2
-DESIGN -2.3 PRECEDENT INFLUENCE
COMBINING ALL THE EFFECTS WE WANT, WE CAME OUT WITH THIS KIND OF STRUCTURE.
CONTINUING FROM OUR PRECEDENT STUDY, WE TRIED TO CREATE A CAGE LIKE STRUCTURE TO COVER THE UPPER BODY. THEN WE PLAYED AROUND WITH THE PATTERN AROUND TO SEARCH FOR DIFFENT KINDS OF EFFECT TO CARRY ON THE IDEA OF CREATING A NEGATIVE SHAPE OF ANOTHER PERSON STANDING INFRONT/ BEHIND (THE EFFECT MENTIONED IN PROPOSED DESIGN V.1 & V.2). HOWEVER, WE FOUND OUT THE PATTERN IS NOT CLEAR ENOUGH, SO WE CAME OUT WITH ANOTHER IDEA FOR A BETTER USE OF NEGATIVE SPACE: INTERIOR AND EXPERIOR SPACE. WE FOUND OUT THAT THE INTERIOR THE SPACE DOES NOT HAVE TO BE THE SAME AS THE EXTERIOR WHERE PEOPLE SEE. WE ALSO THOUGHT ABOUT DESIGNS THAT CAN MAKE THE KNEELING OR CROTCHING MOTION BE DONE MORE EASILY.
WE ALSO CHANGED THE NECK/HEAD COMPONENT TO A STRUCTURE THAT IS EXTANDED FROM THE BACK AND COVERING PARTS OF THE FACE TO HAVE A ‘BLANKET’ EFFECT.
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-DESIGN -2.4 DESIGN PROPOSAL V.1
IN THIS VERSION, THE HORIZONTAL PANELS ARE SLANTED UPWARD ABOUT 30 DEGREES CREATE MORE SHADINGS IN THE UPPER BODY. THIS VERSIONS STRES MORE ON THE LOWER PART OF THE BODY.
THE DARKER AREA INDICATES THE SHAPE OF THE INTERIOR, AND AT THE SAME TIME EXPRESS THE SPREADING OF TEMPERATURE (FROM WARM TO COLD/ BLACK TO TRANSPARENT) DUE TO THE EMOTION OF FEAR. THE WARMTH OF THE PERSON IS FADING AS THE DESIGN IS BLOCKING OTHERS TO APRROACH, HENCE THEY WILL ONLY FEEL THE COLD SO THEY WILL NOT GO CLOSER.
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FOR THE SIDE PROFILE, WE EXAGGERATED THE EXTERIOR SHAPE, NOT ONLY ALLOWING THE PERSON TO CROTCH OR KNEEL DOWN, BUT ALSO TO CREATE A STRONGER CONTRAST WITH THE INTERIOR SPACE. IN INTERIOR SPACE IS MORE CLOSE TO THE HUMAN BODY TO PROVIDE AN EMBRACING SPACE.
M2
-DESIGN -2.4 DESIGN PROPOSAL V.2
IN THIS VERSION, WE CHANGED THE DIREACTION OF NOTCHING. THE SHOULDERS ARE EVEN HIGHER AND STRESSES MORE ON THE UPPER PART OF THE BODY.
IN THIS VERSION, THE NOTCHING COMPONENTS IN THE CENTRE PART OF THE BODY IS ALSO DENSER TO REINFORCE THE IDEA OF HEAT SPREADING OUT. TOGETHER WITH THE COLOUR EFFECT. FOR THE SIDE PROFILE, WE KEPT THE SAME IDEA AS VERSION #1.
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-DESIGN -2.5 PROTOTYPE
THIS PROTOTYPE IS MADE FROM A SERIES OF TRANSPARENT PLASTIC NOTCHING PANELS. IT HAS A ROUNDED SHAPE BUT THERE IS TRAPEZOID EMPTY VOLUME TO REPRESENT A DIFFERENT SHAPED NEGATIVE SPACE (THE INTERIOR). WE PAINT ON THE PANELS TO SHOW THE SHAPE OF THE INTERIOR SPACE AND THE TEMPERATURE SPREADING EFFECT.
Test #1
Test #2
WE DECIDED TO ALSO TEST OUT THE HEAD COMPONENT. FOR THE PHYSICAL MODEL WE TESTED OUT A SPRIRAL NOTCHING METHOD AND WE CAME ACROSS WITH MANY DIFFICULTY SO WE THNK IT MIGHT ALSO BE GOOD IDEA TO NOTCH HORIZONTALLY. WHEN NOTCHING HORIZONTALLLY, THE PANELS CAN BE DENSE WITHOUT HURTING THE EARS.
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-DESIGN -2.5 TESTING EFFECT
TEST #1 TEST #2 IN TEST#1, WITH WIDER GAPS. IT HAS A GREATER TRANSPARENCY EFFECT AND SENSE OF OPENNESS. IN TEST#2, WITH SMALLER GAPS, IT HAS AN EFFECT THAT YOU CAN SEE OTHERS BUT OTHERS CAN NOT SEE YOU CLEARLY.
INTERIOR VOLUME
BY ADDING THE HEAD COMPONENT, THE EFFECT OF LIKE A BLACKET COVERING THE WHOLE BODY CAN BE ACHIEVED.
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3.0 FABRICATION
TRANSLATING DIGITAL TO PHYSICAL
M3
-DESIGN -3.1 FABRICATION INTRO
WE ALSO DECIDED THAT WE SHOULD GO FOR THE HORIZANTAL GRID NOTCHING INSTEAD OF DIAGONAL KNOCHING AS IT WILL GIVE A STRONGER SUPPORT TO THE STRUCTUE AND HAVE A SENSE OF RIGIDITY. AFTER THE LAST PRESENTATION, WE DECIDED THAT WE SHOULD REALLY FOCUS ON THE EFFECT OF TOTALLY TRAPPING THE HUMAN BODY TO CREAT STRONGER SENSE OF HIDING, WHICH IS THE REACTION OF A PERSON WHEN HIS/HER PERSONAL SPACE IS INVADED. MOVING ON TO MODIFY OUR DESIGN, WE CAME UP WITH AN IDEA THAT WE SEPARATE THE EXTERIOR AND INTERIOR SPACE INTO TWO GRID, INSTEAD OF SHOWING THEM THROUGH DIFFERENT SHAPE OF A SINGLE SLIDE.
BY DOING THIS, THE DIFFERENCE IN SPACE, WHICH IS THE PESONAL SPACE THAT THE PERSON WILL WANT TO KEEP FOR HIMSELF/HERSELF AND THE LIMIT OF THE DISTANCE THAT THE PERSON WANTS TO KEEP WITH OTHERS, WILL BE SHOWN.
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-DESIGN -3.2 DESIGN DEVELOPMENT & FABRICATION OF PROTOTYPE V.2
TO TRY OUT THE GRIDDING SYSTEM, WE MADE A 1:1 PART OF THE HELMET AS IT IS A SMALLER IN SIZE. WE TRIED OUT 3MM PERPEX AND THE POLYPROPYLENE TO TEST OUT THE EFFECT OF MATERIALS AS WELL.
3MM PERSPEX PROTOTYPE
POLYPROPYLENE PROTOTYPE
PLAN
THE PERPEX PROTOTYPE HAS A STRONG SENSE OF TRANSPARENCY AND LOOKS RIGID, HOWEVER, IT IS ALSO VERY CRISP AROUND PLACE WHERE NOTCHES ARE MADE. WITH A LIGHT PUSH, THE SLIDE EASILY BROKE INTO 2 PIECES.
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ELEVATION 1
DIGITAL PROTOTYPE
ELEVATION 2
THE POLYPROPYLENE IS TOO THIN TO PROVIDE THE RIGID FRAME THAT WE WANT. WHEN THE POLYPROPYLENE UNDERGONE LASER CUT, THE NOTCHES ARE NOT CUT FULLY AS THE HEAT JUST MELT THE PLASTIC AND FORMED CURVED AND HARD PLASTIC INSTEAD OF CUTTING IT, MAKING THE NOTCHES VERY HARD TO FIT. ALSO, CIRCULAR STAINS ARE FORMED WHICH DOES NOT LOOK CLEAN.
M3
-DESIGN -3.3 DESIGN DEVELOPMENT & FABRICATION OF PROTOTYPE V.3
DEFECTS ON THE BOXBOARD SIDE
AS SEEN IN ABOVE IMAGE, BOXBOARD SEEMS HARD, BUT IT CAN BE EASILY PEELED INTO TO DIFFERENT LAYERS. WHEN THE BOXBOARD IS NOT CUT THROUGH, AND AFTER NOTCHING, DEFECTS CAN BE EASILY MADE.
MDF AND BOXBOARD (BOTH 3MM) HORIZONTAL NOTCHING PROTOTYPE
THIS PROTOTPE IS MADE TO SEE IF THE SCALE IS RIGHT AND SEE IF A PERSON CAN ACTUALLY CROTCH OR KNEEL DOWN WITH THIS STRUCTURE. UNFORTUNATELY, THE SCALE WAS A BIT OFF. BUT, THIS PROTOTYPE ALSO ALLOWED US TO TEST THE MATERIAL MDF AND BOXBOARD.
ANOTHER PROBLEM WE SPOTTED IS THAT WE CREATED NOTCHES THAT ARE TOO LONG, THATS WHY THE PROTOTYPE IS WAS NOT COMPLETED BECAUSE IT CAN NOT BE ASSEMBLED.
STRONGER AND BETTER FINISH IN MDF SIDE.
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-DESIGN -3.4 FINAL PROTOTYPE DEVELOPMENT + OPTIMISATION AFTER WE MADE THE 1:1 PROTOTYPE WITH SPIRAL NOTCHING, WE FOUND OUT THAT SUPER LONG NOTCHES WILL EASILY BE MADE, SO WE CHANGED IT INTO SPIRAL NOTCHIGN. WITH THIS NOTCHING SYSTEM, THE NOTCHES HAVE A MORE UNIFIED LENGTH TO MAKE THE MODEL EASIER TO ASSEMBLE. ALSO, THIS NOCHING SYSTEM ALSO SUITS OUR IDEA OF EMOTION AND TEMPERATURE SPREADING FROM THE BODY TO THE OUTSIDE WORLD. WE CHOSE TO USE MDF FOR THE WHOLE STRUCTURE AS IT IS RIGID ENOUGH FOR NOTCHING AND TO STAND ON ITSELF. HOWEVER, WE FOUND OUT THAT WE ARE NOT ABLE TO GET THE HEAD INTO THE STRUCTURE AS PER OUR CONCEPT DIAGRAM, AND THE PANELS ARE LUMPY ON THE EDGES. THEREFORE, WE DECIDED TO CHANGE PART OF THE EXTERIOR VOLUME AND ADJUST THE DIGITAL MODEL CAREFULLY.
CLOSE UP IMAGE FOR SPIRAL NOTCHING
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-DESIGN -3.4 FINAL PROTOTYPE DEVELOPMENT + OPTIMISATION
DIGITAL FABRICATIONS: ARCHITECTURAL + MATERIAL TECHNIQUES/LISA IWAMOTO. NEW YORK: PRINCETON ARCHITECTURAL PRESS C2009
FROM THE READING, WE ARE INSPIRED THAT THE FREQUENCY OF THE SECTION WE MADE IN OUR ‘WAFFLE-GRID’ STRUCTURE WILL GIVE DIFFERENT VISUAL INTENSIFICATION. BY THAT, WE CAN MAKE OUR TWO LAYERS OF GRID WITH DIFFERENT DENSITY OF GRID. FOR EXAMPLE, THE EXTERIOR GRID CAN BE LESS DENSE TO SHOW THE FADING OF EMOTION AND COOLER TEMPERATURE AS IT GETS FURTHER FROM THE HUMAN BODY; THE INTERIOR GRID CAN BE DENSER TO SHOW STRONGER EMOTION AND HIGHER TEMPERATURE. ALSO, WE UNDERSTOOD THE DIVERSITY OF SECTIONING AND PROFILING AS A CONSTRUCTION TECHNIQUE, LARGE AMOUNT OF TECHNICS SUCH AS STACKED, GRIDDED, ALSO MAY INTERCROSS WITH FRAME AND INFILL/ SKIN AND BONES.
WITH THE SPIRAL NOTCHING AND THE MATT BLACK SPRAY PAINT CREATE THE ATMOSPHERE OF FEAR AND MYSTERY. ALSO, WITH THE DOUBLED GRID ALSO CREATES A VISUAL ILLUTION LIKE MOIRE EFFECT TO HIDE THE UPPER BODY. THE SHIFT OF VISIBILITY IS DISTINCTIVE.
DREAMS IN THE MONOCHROME, 2015
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-DESIGN -3.5 FINAL DIGITAL MODEL
OUR FINAL DESIGN, WE DIVIDED THE STRUCTURE INTO 2 SEPARATED GRIDDED VOLUME, A HALF-BODY BUT LARGER IN SCALE EXTERIOR GRID, AND A FITTED INTERIOR GRID WITH HIGHER DENSITY. THE EXTERIOR ADDRESSED ON THE RAISED SHOULDER TO SHOW THE SCARED/ SHOCKED EMOTIONAL EFFECT OF A PERSON WHEN HIS/ HER PERSONAL SPACE IS INVADED. THE EXTENDING COLLAR PART NOT ONLY FIXED THE PROBLEM OF NOT GETTING HEAD IN TO THE STRUCTURE, BUT ALSO CORPORATED THE WHOLE EXTERIROR VOLUME TO CREATE A EMBRACING EFFECT. THE INTERIOR ALLOW THE PERSON TO KNEEL DOWN AND TOTALLY COVER THE BODY TO PROVIDE AN ENBRACING AND HIDING EFFECT, TO KEEP A PERSON’S PERSONAL SPACE FULLY TO HIMSELF/HERSELF.
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-DESIGN -3.5 FINAL DIGITAL MODEL
PLAN
ISOMETRIC
ELEVATION 1
ELEVATION 2
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-DESIGN 3.6 FABRICATION SEQUENCE
THE PURPLE SHADES INDICATE THE INTERIOR SPACE WITHIN THE STRUCTURE, WHICH IS ALSO THE PERSONAL SPACE OF THE PERSON. THE BOTH SIDE AND THE TOP ARE CARVED OUT DUE TO THEIR PURPOSE FOR ALLOWENCE OF THE BODY MOVEMENT.
IMAGES SHOWING THE VOLUME INSIDE EXTERIOR, INTERIOR AND THE WHOLE STRUCTURE. THE HOLLOW SPACE ALLOWED PERSON TO FIT IN AND MOVING ARMS ESPECIALLY IN THE INTERIOR PART.
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-DESIGN -3.6 FABRICATION SEQUENCE
IMAGES SHOWING THE VOLUME OF THE PERSONAL SPACE
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-DESIGN -3.6 FABRICATION SEQUENCE
EXTERIOR HORIZONAL PANELS
INTERIOR VERTICAL PANELS
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EXTERIOR VERTICAL PANELS
INTERIOR HORIZONAL PANELS
M3
-DESIGN -3.6 FABRICATION SEQUENCE
NOTCHING MEHTOD THE HORIZONTAL PANELS ARE INSERTED ONE BY ONE INTO THE VERTICAL PANELS. WE MADE ALL THE NOTCHING ON THE EXTERNAL SIDE OF THE HORIZONTAL PANELS IN ORDER TO PULL THE VERTICAL PANELS FROM THE FRONT.
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-DESIGN -3.7 ASSEMBLY DRAWING
1.TWIN CURVES FROM THE PANELS -FORM 3 SURFACES FOR EACH PANELS 2. OFFSET SURFACE BOTH SIDES 1.5MM>EACH PANEL IS 3MM 3.MOVE VERTICAL PANES OUTWARDS -> INNER PART TOUCHS THE OURT PART 4. BOOLEAN SPLIT->MARKING ON BOTH PANELS 5. SPREAD OUT PANELS-> CHECK OPEN CURVES
A1-A3
A4-A5
A6-A7
A8
A9
A10
A11b
EXTERIOR PANELS A11a
B1-B19 C1-C13
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INTERIOR PANELS
D1-D37
M3
-DESIGN --3.7 ASSEMBLARGE
AT THE POINT, THE MODEL INTERIOR PARTS NOTABLY HEAVY AS THE THE LOAD ALL COMPRESS ON THE BOTTOM PANELS. THUS, HOLDING IT TOGETHER CAN NOT BE FINISHED BY ONE PERSON.
WE THEN USED THE TRANSLUCENT TAPE TO HOLD THE PANELS TOGETHER ON THE STRESSED PART ON THE BOTTON DUE TO THE AESTHETIC ASPECT. HOWEVER, THE PANELS ARE LUMPY IN SOMEHOW. THERE ARE NOT MUCH PERFECT NOTCHINGS.
THEREFORE, WE FIXED THE DIGITAL MODEL AGAIN, AND FIND A WAY TO MAKE PERFECT NOTCHING AS SHOWN BELOW. ON THE OTHER HAND, WE USED MATT BLACK SPRAY PAINT TO INCREASE THE EFFECT OF FEAR- FEAR THAT IS SENSIBLE AND VISIBLE.
WE USED MARKING TAPE TO STOP THE PANELS FROM FALLING APART.
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-DESIGN -3.7 ASSEMBLY PHYSICAL MODEL
EXTERIOR
FINAL ENTIRE PHYSICAL MODEL
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INTERIOR
M3
-DESIGN -3.8 COMPLETED 2ND SKIN
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DESIGN EFFECT THE BALCK APPEARANCE AND QUEEN DRESS LIKE APPEARANCE WELL CAPTURED THE ATTRACTION, AND AT THE SAME TIME LURE OTHER PEOPLE TO HAVE THE SENSE OF FEAR TO THE PERSON INSIDE THE STRUCTURE. CORPORATING THE EFFECT OF THE DENSITY OF GRIDS AND THE SPIRAL NOTCHING, CREATES A VISUAL ILLUTION LIKE MOIRE EFFECT TO HIDE THE BODY. THE SHIFT OF VISIBILITY IS DISTINCTIVE. THE EXTERIOR ADDRESSED ON THE RAISED SHOULDER TO SHOW THE SCARED/ SHOCKED EMOTIONAL EFFECT OF A PERSON WHEN CROCHING DOWN. THE EXTENDING COLLAR PART NOT ONLY FIXED THE PROBLEM OF NOT GETTING HEAD IN TO THE STRUCTURE, BUT ALSO CORPORATED THE WHOLE EXTERIROR VOLUME TO CREATE A EMBRACING EFFECT. THE INTERIOR ALLOW THE PERSON TO KNEEL DOWN AND TOTALLY COVER THE BODY TO PROVIDE AN ENBRACING AND HIDING EFFECT, TO KEEP A PERSON’S PERSONAL SPACE FULLY TO HIMSELF/HERSELF. AS SEQUENCE, THE WHOLE STRUCTURE IN ORDER TO PROVIDE AN EMBRACING BUT ALSO DEFENSIVE PERSONAL SPACE.
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4.0 REFLECTION
REFLECTION THROUGHOUT THE DESIGN PROCESS THIS SEMESTER, I HAVE ACHIEVED SERIES OF KNOWLEDGE IN DESIGN. NOT ONLY THE UNDERSTANDING OF THE IRREGULAR DESIGN PROCESS, BUT ALSO THE IMPROVEMENT IN DIGITAL SOFTWARE SUCH AS RHINO, AUTOCAD, INDESIGN, ADOBE ILLUSTRATOR AND PHOTOSHOP. HOWEVER, MOST IMPORTANTLY, I GAINED A NEW ASPECT OF THE INTEGRATED RELATIONSHIP BETWEEN THE DIGITAL WORK AND THE PHYSICAL CRAFTWORK. AS WE USE ONE IN THE TIME, IT ASSISTS THE OTHER. TRANSLATING DIGITAL TO PHYSICAL HAS THE POWER OF TRANSFERRING HUMAN KNOWLEDGE TO COMPUTERS AS IT INSISTS A STRONG RELATIONSHIP BETWEEN WHAT CAN BE CONCEIVED AND WHAT CAN BE STRUCTURED. IN ARCHITECTURE IN THE DIGITAL AGE, THE EXAMPLE OF FRANK GEHRY’S PHYSICAL PRACTICE AND DIGITAL WORK OF HIS PROJECT ALSO INDICATES THE POWER OF TRANSLATING DIGITAL TO PHYSICAL.
STAN ALLEN ARGUED THAT THE CONSTRUCTION HAD COME TO RELY ON TOOLS OF ABSTRACTION AS COMPUTER TECHNOLOGY IS INCREASING USED DURING THE PRODUCTION OF BUILDINGS. I THINK PART OF THE FACT IS REASONABLE. BY USING RHINO, I WAS ABLE TO DEVELOP A FAR MORE COMPLEX PARAMETRIC FORM RATHER THAN A GEOMETRIC SHAPE THAT I COULD ACHIEVE WITH ONLY USING PHYSICAL. IN OUR PROJECT, WE TURNED OUR DIGITAL MODEL INTO SEPARATED NOTCHING SURFACES THAT CAN BE SENT TO LASER CUT TO MAKE PRECISE MODELS. HOWEVER, THE MEDIATION BETWEEN THE DESIGN AND PRODUCTION IS ALSO SIGNIFICANT. IF ONLY DEFINING DESIGN BUT DISTINCT FROM THE GOALS OF THE INDUSTRY WOULD CREATE SERIES OF RISK SUCH AS FAILURE OF CONSTRUCTION. IN OUR PROCESS OF FABRICATION, THERE WAS INCREDIBLY CHALLENGE HAPPENED. AS THE FACTORS OF SCALE, WEIGHT AND FLEXIBILITY OF THE MATERIAL WERE HARD TO BE TESTED ONLY IN RHINO.
“DRAWINGS AND MODELS ARE USED TO COMMUNICATE PRECISE INFORMATION ON HOW TO FABRICATE AND WITH WHICH MATERIAL.” - BUILDING THE FUTURE: RECASTING LABOR IN ARCHITECTURE
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-DESIGN -4.0 REFLECTION
THE PROCESS THROUGHOUT TO OUR FINAL DESIGN WAS FAR MORE COMPLICATED THAN I COULD PREDICT, BUT I THINK OUR DESIGN OUTCOME COMBINES OUR CONCEPT AND DESIRED EFFECTS. THROUGHOUT OUR PROCESS, WE HAVE BEEN TAKEN MANY RISKS BEFORE TESTING OUT THE PHYSICAL MODEL. FOR INSTANCE, AT THE FIRST STAGE, AS THE SCALE OF THE MODEL WAS INCORRECT. THUS, WE COST THE UNNECESSARY MONEY TO CRAFT. AFTER WE HAD CRAFTED OUT THE FINAL PHYSICAL MODEL, WE FOUND THE EDGES WERE LUMPY, AND THE NOTCHING WERE IMPRECISE. WE DIDN’T EVEN ACHIEVE OUR POTENTIAL EFFECT IN THE MODEL. THEN WE IMMEDIATELY WENT BACK TO OUR DIGITAL MODEL TO CHANGE THE VOLUME CAREFULLY. IN SUCH CASE I BELIEVE CONTROL WAS MAINTAINED BUT AT THE COST OF EFFICIENCY AND INNOVATION. THE PHYSICAL MODEL IS IMPORTANT IN MEDIATING BETWEEN HUMANS AND TECHNOLOGY AS IT ASSOCIATED WITH INTERPRETING AND IMAGINING ALTERNATIVE OUTCOMES. ALTHOUGH THE PROCESS OF DEALING THE DIFFICULTY AND STRESS RELATED TO FABRICATING THE MODEL WAS PAINFUL (THERE WERE TIMES WE ALMOST GAVE UP ON OUR PROJECT), I AM GLAD TO SEE OUR FINAL DESIGN OUTCOME. AS I THINK WE HAVE TRIED OUR BEST, AND OUR DESIGN HAS ACHIEVED THE DESIRED EFFECTS REFER TO THE MAIN IDEA OF THE 2ND SKIN PROJECT-BODY ARCHITECTURE.
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5.0 APPENDIX
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-DESIGN -5.1 CREDIT
M3
-DESIGN -5.3 BIBLIOGRAPHY
REFERENCE LIST BookCover Julian Beever sidewalk art, chalk art, viewed 3rd April 2015, <www. howtodraweasy.com> Branko, K, Spon, P,C2003, Architecture in the Digital Age - Design + Manufacturing, London. Dreams in the Monochrome, 2014, viewed 16th April 2015, <https://www.pinterest.com/pin/134052526385390524/> Fear image, viewed 18th April 2015, <www.griefrecoverykit.com> Jeremy, R, Palgrave, M, C2011, The third Industrial Revolution,w pp107-126. Lisa, W, c2009, Digital Fabrications: architectural + material techniques, New York: Princeton Architectural Press. Olivia Decaris, 2009, The Drop Series, viewed 25th April 2015, <http://www.dezeen.com/2009/06/29/the-drop-series-by-olivia-decaris/> Personal Distance Chart, viewed 20th March 2015, <www.almostsavvy.com> Philip, B, Peggy, D, C2008, Building the Future: Recasting Labor in Architecture, Princeton Architectural Press. c2008. pp 38-42. Uncategorized | Passive Architect, viewed 14th April 2015, <www.buildlivegreen.me>
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