Kevin Adhitya Student No.: 617165
Semester 2/2013
Group 6
Module 1 Ideation
Measured Drawings
T
hese measured drawings were produced by simple measurements. The only tool that has been utilised is metal ruler as a tool of measurement. Other observation that has been done is the material durability. One aspect that has been noted was the durability of the pegs that support the skin. These pegs are able to withstand the compression of the skin that is constructed out of plastic.
“Observation is
a necessary part of creation” - Heath, Heath & Jensen (2000).
T
he fact that these drawings were produced in simple measurement, unlike the ones in Jensen’s (2000) “300 Years of Industrial Design“, does not mean the observation that has been conducted was not thorough, as the observation was simple. This observation is different to the examples given in Jensen’s (2000) “300 Years of Industrial Design”.
T
his measured drwaing was a good stepping stone in order to create something new and different. The choice of an everyday object was to develop new ideas resulted from this activity.
IDEATION
Logic Sketches
H
ere are some traces of the umbrella mechanism. These drawings are taken from different perspective of an umbrella. Some of them were taken from plan view while others are taken from perspective view. These sketches were produced using trace paper
O T W L
ther drawings include the state where there are no tension or compression whatsoever on the umbrella.
he arrows in these drawings indicate where the tensioned and compressed areas of the umbrella when it is fully expanded. hile the arrows in these drawings represent the movement of each component of the umbrella when it is expanded or retracted.
ogic sketches, which were a continuation of measured drawings, explained the mechanics and structure of the object without a proper scaling. These logic sketches provided a more free observation on the object because they utilise various photographs of the object instead of certain perspectives of the object (isometric).
IDEATION
3D Model Reconstruction
T
hese rhino models are the finished model reconstruction of an umbrella. I have also done some detailing on the spring component and the peg rest components. The main feature of this model is definitely the hinges mechanism and the skin, which gives the shape of an umbrella.
IDEATION
Object Reconstruction
T
hese are some photographs of the reconstruction of the umbrella. The objective was to produce a volumetric object using the material system each student has chosen. I mainly used the ‘bone‘ part of the umbrella as the main parts of this reconstruction, while for the ‘skin’, I used white foamboards as they provided
more integrity to this structure rather than plastic, which is obtained from the umbrella. As a binding medium, I used cooking twine and masking tapes. This model can be transformed into two dimensional structure and three dimensional structure. The hinges were designed in such method that they can flatten the three dimensional surface of itself into a two dimesional structure.
IDEATION
Model Sketches Design Name : Bind Description : - Six sharp torso and back pieces - Binding tentacle-like pieces starting from shoulder - Sharp bracelet on the wrist - Reflecting a state of total agressiveness and power towards personal space from every piece Mechanism : - Shoulder piece (two biggest pieces) should be able to be moved while walking or swinging the arm
Design Name : Passive Aggressive Description : - Sharp headpiece - Soft and curly back-shoulder-chest piece - Reflecting a state of aggressiveness while maintaining its state of self-conscious towards personal space
Design Name : Bird of Paradise Description : - An early designing stage - Three sharp backpieces - An X-shaped strap to hold the backpieces - Reflecting a bird of paradise, a sign of welcoming and hospitality towards personal space
Mechanism : - Hinges and pegs will be located inside the headpiece and can be triggered by pulling the lever located at the back - Headpiece will expand as the result of lever triggering
Mechanism : - The backpieces should be able to move alternately while being attached to strings that can be controlled from the strap
IDEATION
Module 2 Design
Initial Model
Source: Ong, JM 2013
DESIGN
Personal Space Exploration
01. 02.
Source: Zhao, B, 2013
Source: Ong, JM 2013
03. T
here a number of experiments that has been conducted in order to define personal space. The first image represents how peronal space can be interchangable depending on the location of the person on a tram. There are different aspects that may interfere one’s personal space, such as acoustic aspect (listening to music), visual aspect (checking smartphone) and sensory aspect (touching with other passenger). It is also found that when a passenger unwillingly touch each other, he or she will somewhat alter his or her personal space, either by averting gazes, move slightly or fidgeting.
A
s a group, we produced a mindmap of personal space. This mindmap includes aspects that may alter one’s personal space. The mindmap may also contain some extremes that may affect personal space, such as phobia. Even though, this is not a completely perfect mindmap, it envisaged most important information regarding personal space.
T
he third image relates to the little experiment we have done to determine the sensitivity of a body in order to map the personal space. All of these experiments were based on Sommer’s (1969) “Personal space: the behavorial basis of design”.
E
ach experiment responded to how the group presented the idea of personal space on the second skin. We extracted the idea of sensitivity from one of our experiments and implemented it to the components of the second skin.
DESIGN
Precedent Study
T
he precedence study that has been implemented to the final design is Mec-
cano, which is a building toy. In terms of architectural design, a community in Manchaster, England has upgraded Meccano Source: http://www.aburkitt.net/meccano/manuals/1957/07-08/1957_078_FC1.jpg
to a new level. The design was established Source: http://i.dailymail.co.uk/i/pix/2012/12/19/article-2250003-16929F0D000005DC-831_634x412.jpg
by Liam Curtin, an artist. The bridge was constructed as a restoration of the previously vandalised canal. According to Reynolds (2012), the project costs around 90,000 Source: http://upload.wikimedia.org/wikipedia/commons/1/12/Meccano_motorcycle3.JPG
pounds. This project possesses some similarities to the current second skin project. MecSource: http://i.dailymail.co.uk/i/pix/2012/12/18/article-2250003-167A7573000005DC-691_634x407.jpg
cano provides countless possibilities to build various outcomes. Similarly, the second skin relies on the placement of the hinges in order to create different emotions and effects. Furthermore, Meccano is interchangSource: http://littlegenealogy.net/memory_images/ meccano.gif
able, similar to this second skin project. Source: http://dovedaler.files.wordpress.com/2013/04/20130404_111921.jpg
DESIGN
Prototypes
E
T
he “bone“ was prototyped as an
ach member of the group were to
interactive
produced at least one prototype
compartment
of
the
second skin. This is prototyped by ob-
of the design to be shown during the
serving the Meccano as the prec-
third presentation. However, each
edent
member were to add the “skin” to
study. The main feature of
the “bone“ was the interchangable
the agreed “bone“ structure. What has
hinges that display different emotion. The
been attempted was different types of
material was also various. Most of the
“skin“. There were soft skin and hard
prototypes were made using paper
skin that have been attempted in
because it was easy to construct.
order to finish the design. There are
After the prototypes, we were in quest for a stronger material instead
some advantages and disadvantag-
of paper. Thus, at the end, we decided
es of utilising soft skin and hard skin. The
to use plywood as the “bone“.
soft skin provided a more controled move-
S
ment in the bone. However, it created inconsistency with the movement.
nent. It was also to provide different
vided a strong shape to the bone, but
DESIGN
totypes were produced was to
test the durability of the compo-
On the other side, the hard skin pro-
it is uncontrolable in terms of the motion.
ome reasons why different pro-
perspective on how the component Source: Zhao, B, 2013
Source: Ong, JM 2013
can be constructed better.
Digitization
3D Rhino models of the components
123D Catch Body Mesh
The panelling of the components on the body mesh
DESIGN
Module 3 Fabrication
Rhino Measured Drawings
FABRICATION
Rhino Assembly Diagram
FABRICATION
Construction Process
T
he construction process require a large expenses in acheiving the lasser cuts. It took
approximately three cuts, each cost around twenty dollars in order to acheive the right cut. I think that is how a design process should work; that is to redo all these things numerous times in order to acheive the final design. We also familiarised with the process of fabricating using different machines. The reason behind the use of these machines was to acheive that precision which cannot produced by hand. In relation to the reading by Kolarevic (2009), this fabrication have helped humans in acheiving extremely intricate design. We simply design in a software and print it afterward, piece by piece or as a whole
FABRICATION
Second Skin Components
FABRICATION
Source: Ong, JM 2013
Reaction Comparison
T
he first image reflects the effect of the component that is exaggerated, while the second imge reflects the movement that is rigid. This component is mainly located on the sensitive area of the body, which can be seen from the mapping of the perosnal space that has been done earlier. Alterations that has been applied to this component of the second skin is the hinge changes. It can be observed that the closer the hinges are towards the centre, the more exagerated the movement is.
W
hat can be learnt from this components is that one may not have to change the entire component to a new shape in order to create a dif-
ferent effect on the body. Such simple alterations will provide different effect on the body. It is clear that some design processes does not need intricate and complex component. This design shows that each component can perform complex effect without the components being complex themselves.
FABRICATION
Left Elevation
Right Elevation
Completed Second Skin
FABRICATION
Back Elevation
Front Elevation
Completed Second Skin
FABRICATION
Module 4
Reflection
Design Process
T
he design journey that has been taken has been a delight. Each module of the whole project explained how design should be done. The first module explained how design derived from an object that is seen everyday , in this case, umbrella, and has a certain value, that is the idea of skin and bone. Then, this idea is trans-
lated into a starting ppotin of a design. This is apparent in the reconstruction of the object, which has been done previously. The extraction of skin and bone idea was then carried on to the second module, design. In this module, students are expected to design a second skin that envisage one’s personal space. This is the brief of this project. From this, students conducted different experiments of how one should display a certain emotion regarding one’s personal space. Students were also to create prototypes that reflect this idea. Once this prototypes have been created, the next step was to bring this prototype to 1:1 scale, which is explained in module 3, fabrication. Module 3 represent the climax of the second skin project as students get to experiece the world of making utilising different machines. On the way, there has to be a number of prototypes that has to be sacrificed during the making process. However, all of this will contribute to the final design. The last module may act as an anti-climax of the design process, although some would think that this is the climax of the design process as student s get to exhibit their design in form of short video.
REFLECTION
Reflection
T
he whole project provided an opportunity to work in design department while also involving with the making process, which I really enjoyed. Through the design process, I personally gained knowledge in different method of making, starting from using the software to the final assembly. I also learn how to ef-
fectively resolve design prbolems, such as choosing material. One thing that I learnt from myself was that I was a perfectionist in everything I do, but at the same time I am quite a procrastinator. This is something that I experienced during the makin of this second skin. I tend to fix every part of the second skin but I left it to the last minute. One other thing that was really impotant for me was that I get to experience working in a group (and I get to know some friends with similar interest). It is very motivating to work in an environment with similar-minded people, especially with the member of my group. Overall, this experiece really satisfies me in understanding the world of design a little deeper. I hope that I could apply some, perhaps all, of this experience in my future career.
REFLECTION
The Future
I
think the future of design will definitely become more advanced compared to the current world of design. With the develeopment of 3D printing, I think everyone should be able to create anything (though some may misuse the true intention of 3D printing, eg. 3D printed gun). I think it is only a matter of educat-
ing the future generation to use this technological advancement in terms of creating a design.
I
n terms of my future, I think, as I mentioned before, Virtual Environments provided a huge starting point to the idea of designing and how these design can be translated to the physical object, especially architecture. The subject provided me with the essential materials to start in the architecture world, starting
from Rhino and fabrication processes.
REFLECTION
Reference List Kolarevic, B 2003, Architecture in the Digital Age - Design and Manufacturing, Spon Press, London. Pottmann, H, Asperl, A, Hofer, M & Killan, A 2007, Architectural Geometry, Bentley Institute Press. Reynolds, E 2012, ‘Multi-coloured footbridge is made from 400 giant pieces of Meccano costing £90,000’, 18 December. Scheurer, F & 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, N.J. : Prentice-Hall.
REFERENCE LIST