Ddf landscape m4 journal 3 kai lin

DIGITAL DESIGN + FABRICATION SM1, 2016 Distored reflection Kai Lin

(825663) Siavash Malek + Group F

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Content: Introduction......................................................................6 Ideation.............................................................................7 Design............................................................................... 20 Fabrication....................................................................... 48 Reflection.........................................................................94 appendix..........................................................................96

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0.0 Introduction Panel and Fold: The Frack Mirror The material system I chose to explore was ‘panel and fold’. The object I explored was a frack mirror.

The mirror can separate to two parts and they have different folding system. Through some exercises of measurement, hand-drawing, 3D drawing, deconstruction and reconfiguration, I clearly understand the material logic and the rule of folding on the mirror. These exercises were helping me to understand the system of fold and gave me some inspirations for my second skin designs and how to construct my 2nd skin object.

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IDEATION: 1.1 MEASUREMENT MEASURED DRAWINGS

The front view when the mirror holder fold together 1:1 on A3

Detailed drawing of the mirror holder 1:5 on A 3

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1:1 on A 3 Plan of the mirror holder

Methods of measurement: This object can be separated as two parts Mirror and folding steel holder for the Mirror. I took some photos for plan and elevation as reference for measurement. And then i found the material logic of the object.

Firstly, I measured Mirror which is a circle,and i found its diameter is 170mm. And then i measured the supporting steel’s length which was bit difficult. I used two rulers to perpendicular to each other and i got the length is 120cm.

Secondly, i measured the folding holder by three different expanding form, Folding together, half stretched and full stretched.

When it stretches, the length is overing the A3 paper, thus i used the scale of 1:2 to draw it.

The front view of half stretched mirror holder 1:2 on A3

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Section of the mirror 1:1 on A3

Plan of the mirror 1:1 on A3

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3D MODELS IN RHINO:

FRONT VIEW OF THE FOLDING HOLDER

RIGHT VIEW OF THE FOLDING HOLDER

TOP VIEW OF THE FOLDING HOLDER

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Detail 3 Detail 2 Detail 1

first step

Sceond step

Perspective view.

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Analysis This photo shows the elevation of the holder when it is full folding together. Pin joints are very important for the holder’s movement. If other joints use on the holder, it won’t work as good as pin joints. when it is folding like this, it has the shortest width(extension distance), but it has the highest strength.

This photo shows half stretched holder. The angle between two leaves are about 90 degrees. It has much longer extension distance than full bolding together, but the strength is lower than that.

I am not sure does this mirror has bolding on it or not. But pin joints allows the mirror to rotate.

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This photo shows full strectched holder.

The adjacent leaves are approaching 180 degrees. The stregnth of the holder is the lowest at this moment.

The logic of the folding holder is that one side is fixed and the other side is moveable, and pin joints allow the holder to move.

When it stretches, the left end goes up, the right side end goes down.

They all stay on the horizontal line while moving. However, the bottom line will rise up and getting closer to the top line.

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Sketch Model

perspective view plan

plan

left when it fold up front

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top when it fold up

First step: i cut tthree different kind of balsa and they have same shape with the leaves of the mirror holder, but different length. Their length are 145mm,135mm and 70mm. i made 6 pieces of blasa for each length.

Second step, i use needle and cotton wire to seam them together.

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Sketch Design #1 Arm, shoulder protection, Helmet, hidden thorn,

What is your idea? [Maximum 5 key words]

How does this respond to your personal space?

The idea is from my precedent design. For this one, i expected it to be an arm for protecting personal space. For myself, my sensitive part of body are shoulder and back. Thus i design this hidden thorn mail. all sticks will lift up when it is necessary and protect prosonal space.

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Sketch Design #2 Heart exposed, face covered, surround.

What is your idea? [Maximum 5 key words]

How does this respond to your personal space?

The material for this idea are 2mm hexagons cardboard and 2mm heptagons cardboard. The photo above shows the personal space model we made in week 2 tutorial and it gave me inspiration for the new design.

However, the precedent one covered the chest up. For my new design, i choose to expose half of chest (expose the heart) which refers to friendly, opening heart to everyone.

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Sketch Design #3 expansion,contraction, surround,

What is your idea? [Maximum 5 key words]

How does this respond to your personal space?

This design is able to expansion and contraction. When you meet your friend, you are able to contract it to close to your body or set up a closer distance to your body. When you are on the public transport, you can use it to keep people away from your personal space.

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Critical Analysis for Module 1: In this module, my understanding of the topic ‘panel and fold’ was not quite enough. The Frack mirror have two kinds of folding systems but I focused on how mirror holder fold rather than the mirror. That was why my sketch designs were more about two-dimensional and they were unattractive. However, I should incorporate two folding systems together to create the three-dimensional folding system and then start to do my sketch designs. For my sketch designs, my ideas were good but I did not explore more effects such as reflection effect, light effect and distorting effect. Therefore the concept for my 2nd skin designs is very stuffy. However, the 2nd skin can be anything, not just defensive or aggressive armor. As the brief wants us to create some innovative second skin designs, thus my sketch designs should be further developed by adding more innovative concepts and effects into my 2nd-skin design.

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DESIGN: Group F: Kai Lin, Hermione Hines, Lily cheung, Amelia Rose

Abstract:

In this module, we have 4 students in a group and we did design and development for our 2nd skin. The key theme of our design concept is about liminal space on human body. After we measured our liminal space, we start to design our object. Precedents research gave us so many inspirations to our design and we tested effects of different design idea and materials. And then we found that blurring effect can be the key concept of our design. This adds at the overall idea of someones silhouette and the ability to read where body ends being completely distorted.

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SECOND SKIN, LIMINAL SPACE

We proceded to use a methodology of measuring personal space which developed into our form finding exercise to see what areas of the zones tended to extend further away from the body. Upon reading Somer’s Personal Space (1969), in which he described the shape of personal space as “not being spherical in shape and not extending equally in all directions (people can tolerate closer presence of a stranger at their sides than directly in front)” - we became further interested in exploring how the tangible perception of personal space is in fact warped around the body.

In response we came up with two sets of diagrams that responded to the different notions of personal space: 1. Black lines measure our own personal space boundaries We discovered very personal inferences such as the fact that Hermione did not mind being approached from her sides at quite a short distance away from her shoulders, yet felt more uncomfortable when people were too close face to face.

Kai’s personal space indicated that his more sensitive zones were based around his entire head and the front section of his hips.

Amelia was very sensitive to people encroaching on ber personal space if it was behind her and was more sensitive on her left side.

Lily’s personal space was the most even around her body, yet was the most sensitive around her face and hips.

Personal space is also more directly related to the upper body, particularly around the face, the neck, the chest and the arms.

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Personal space is a construct, due to the fact that humans have inherent, diverse levels interaction, as “individual distance is not an absolute measure but varies with the relationship between the individuals, the distance at which other in the situation are placed, and the bodily orientation of the individuals one to another” (Somers 1969). Thus we were not soley interested in our own ‘portable territory’, yet also ones perception of others’ personal space boundaries.

MEASURING PERSONAL SPACE

GREEN = Hermione

BROWN = Lily

RED = Amelia

BLUE = Kai

2.0 DESIGN

We thus came up with another set of diagrams that measured our perceptions of each others personal space based on previous conversations we had had about personal sensitivity to strangers approaching us, as well as instinctive belifs (based on personality) about where each other’s personal spaces are.

2. Coloured lines measure the viewers’ idea of someone elses personal space

Hermione

Kai

between the two thresholds of personal space, there is an interaction between the individual and the viewer.

This creates a zone of ambiguity or disorientation that occurs in the middle stage of un-

DISCOVERY: A range of vast and subtle differences between ones perception of their own perosonal space, vs another person’s perception of that persons personal space.

Hermione: expressive when she talks (gestures and expressions) - more spaces around her head and arms. Personal space did not extend from her face as far as she actually felt it did (Kai believing it extended further backwards).

Kai: Larger personal space than the group thought he did around his head. Smaller boundary - males less sensitive around chest area, but extension around back of his torso. As Kai is a bit less expressive - assumption of more space around him comparatively.

Lily had a smaller personal space than the group anticipated, especially around her head zone. Less outgoing - more personal space?

Lily Amelia

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Amelia: outgoing and active - smaller personal space. Groups’ perception of her personal space was the greatest contrast, displaying that we belived her boundaries extended much further backward than she felt.

LIMINEL SPACE We wanted to extend the construct of personal space, to better explore the dichotomy between the user’s personal space and the viewer’s perception of this personal space. Our second skin will respond by emphasising the liminal space between the intangible identity/personal space (that extends beyond the physical body), and the viewers’ idea of where this is. From our findings, we discovered that almost every time there will be a difference between the two perceptions, thus reaffirming the multipotent nature of personal space.

Through our second skin therefore there are two goals: Wearer – wants to make tangible where their personal space/identity extends to.

As a viewer – to be unable to decipher the boundaries of the physical body through the distortion created between their perception of the wearers’ personal space and the wearer’s perception of their own personal space.

When the viewer becomes aware of this liminality, they may not know how to navigate the transition, they may become disorientated and confused, standing paralysed or fleeing the unknown...

The word liminal comes from the latin word limen – meaning ‘threshold’ – any point or place of entering or beginning. A liminal space is the time between the ‘what was’ and the ‘next’ – place of transition, waiting and not knowing – - Thresholds - Transitions - Transformations - Emotions do not exist mutually exclusive from one another – intersect and interwine

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LIMINEL SPACE SKETCH MODEL DEVELOPMENT

We decided to create our Second Skin using Amelia’s personal space data. This was because her liminal space had the most contrast which we believed would demonstrate our concept the most effectively. Using our design concept, every second skin for an individual would necessarily be uniquely designed for the individual in order to cater for every persons sense of personal space.

The lineworks are a tangible representation of the the space in between the two perspectives of personal space; the liminal zone.

We recognised that these spaces become further articulated when the surfaces are cut and viewed at an angle. The surfaces are necessarily complicated and intricate as they are attempting to describe physically the "invisible lines" (Sommer) of personal space.

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LIMINEL SPACE REFINED SKETCH MODEL

We traced the outlines of the hand drawn personal space diagrams into rhino, and then lofted them to generate two surfaces.

One of which indicates the boundaries of the user's sense of personal space, the other indicates the viewer's interpretation of that individual's personal space.

The generation of the viewer’s surface was intersting because we decided to average out all of the three persepctives which provided an intricate and thorough exploration of the surface articulation.

Hermione’s surfaces We decided to experiment with one other member in the groups’ personal space to contrast with Amelia’s, however as a group we decided that hers involved a copious amount of overlap between the two surfaces creating a liminal zone that was extremely intricacate and intertwined. We thought that it was a fascinating outcome, however we still chose Amelia’s due to the potential difficulty in fabrication of Hermione’s complex surfaces. We knew in the amount of time needed for fabrication, this would most likely not be possible. We learnt however the vast diversity of individuals’ liminal zones, and thus creating more complex second skins would require further exploration as to the digital fabrication if the project was to be developed further.

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LIMINEL SPACE REFINED SKETCH MODEL

BLUE = wearer RED = Viewer By separating the distrinct elements, it becomes clear how their intersection/lack there of creates distortion - Amelia’s personal space is more within the confines of the viewers’ perception of her personal space thus the blue element is concealed when the two surfaces are overlayed.

This indicates that Amelias own perception of her identity doesnt extend excessively away from her phsycial body. In contrast viewers often verge on the ‘safe’ side of assumption, in the sense that they will often assume an individuals’ personal space is conceived as further than the individual themselves untill they know the individual very well, due to soial standards and regulations.

This therefore exposes the inner most thoughts of the viewer vs wearer perceptions of personal space, forcing an interaction between to the two to occur and thus a confrontation between individuals’ intangible thoughts.

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SKETCH MODEL DEVELOPMENT Here we experimented with transparency and opaqueness.

This type of paneling would be seen as functional response to to context, which in our case would be applied in order to create further distortion of the viewers’ perceptions of the wearers’ personal space. A more transparent area may be implemented to explore an area that the viewer sees as personal, but the user does not. This may be because it distinguishes betwen the area that ateh suer ses as senstive and what the user projects onto them; thus it promotes the viewer to reasses their assumption of the wearers personal space.

In contrast more opaque areas could be implemented in zones which the user sees as personal in order to create an ambiguous distortion of their personal space/physical boundaires.

This type of effect could also be used to accentuate movement through the mophing between opaque and transparent, and further the patterning if these were to have alternations in their openings rather than a standard size and shape. The irregular and fluid form and partial transparency are factors that would work well with the second skin concept.

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SKETCH MODEL DEVELOPMENT Through a series of sketch models, we were able what kind of panel and fold module we would apply to the surface. This ‘star’ shape was a potential module, which we liked because of its folds creating movement and dynamism through opening and closing effects. Aesthetically the use of triangulation was elegant and created beautiful movement effects accross a surface when in repeated articulation.

The Al Bahar Towers used a parametric description for the geometry of the actuated facade panels, and responds to sun exposure and changing incidence angles during the different days of the year. We loved this concept because of its kinetic effect, however did not think we would be able to fabricate it in terms of responsding to light changes.

We soon decided to reject this as a developement option because we felt it was too similar to the precendent stuy and not innovative enough for our second skin design and concept.

Furthermore changes between open and close situations were not as dramatic and we thought they could be, as well as not exploring volume in the second skin thus it was not expasive enouugh as a fabricated concept.

Exploring transparencies and opacity effects of the star form.

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Al Bahar Towers Responsive Facade / Aedas

Proposal summarising & rationalising design decisions

2nd Skin proposed design V.1

We explored different types of panels and folds and came up with this star shape. It is form by joining six small rightangled triangles with a small triangular cutout at the corner.

We then transform the shape by folding the dotted edges to make it 3D. We experimented with attempting to generate a second skin using these star forms which created a delicate and beautiful pattern, yet based on the decisions about the star forms and their limitations, we decided to not develop this concept.

As we started on fabrication, we found that there was difficulty in joining this complex shape as these shapes can only be connected corner to corner.

Design development - Method/skills adopted: We first drew the basic shape of the star (polyline) and then rotate 3D (Rotate3D) to thrust out the edges. We first lofted (Loft) a surface for panelling to occur. We then add grids(ptGridDomainNumber) and then panel (ptPanel3Dcustom) the star shape on the lofted surface.

Precedent From Mathias Kiss’ installation we could see the possibility of reflecting the surrounding with mirrors, which correlates to our notion, that is to distract viewers’ ability to define the boundaries of personal space with reflections.

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SKETCH MODEL DEVELOPMENT

We decided to experiment with soft fold and drape because exploring the continum of fold types we thought that we should explore along the axis from harsh planar folds to the softest possible folds that could be created through a material such as fabric; we wanted to explore if this could become a part of our panel and fold material system. We loved the shadow effects created through the soft folds as well as a the plasticity and dynamism of their form however we felt it was too difficult to control. We experimented with fabric stiffner solutions however we felt it negated the integrity of the material because it made the product too stiff and rigid, making the fabric look to constructed and moulded.

We also felt it would be difficult to panalise it in a way that was contingent with digital design and fabrication.

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SKETCH MODEL DEVELOPMENT

We have decided to explore the notion of the truncated tetrahedron which is a 3D uniform polyhedron (its faces being regular polygons) bounded by 4 hexagonal faces and 4 triangular faces. The truncated tetrahedron has 18 edges, 6 of which correspond with the 6 edges of the tetrahedron. It also has 12 vertices.

We decided to implement this geometry because it explored panel and fold in a volumetric sense as well as the fact that the planar faces meant that connections could be easily generated betwen surfaces. The planar surfaces also allowed for us to explore with transparency and opaqueness through the morphing from just the frame element of the shape to the solid eliment.

It was also a distinct volumetric form which we felt we could replicate and distort in order to create the effect we wanted in terms of the overall form.

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HEXAGON TO HEXAGON By connecting the hexagon surfaces together it allows the least flexibility, creating a small and enclosed solid. However the aesthetic of it is the bulky and heavy which could be positive or negative depending on the effect that we want to generate in certian areas of the second skin.

We felt this would be an interesting connection ot explore because it generates more dynamic forms because of the inherent variation in how the connection can occur. This may then lead to a form that incorperates further movement and is a much less static look than just sticking planar faces together.

The function of the tabs also facilitates the movement between shapes which was important in the articulations between sensory effects and formal effects as these combined could create a vigorous and moving system.

Creates curvature which allows the tetrahedrons to stack and go around the body, giving flexibility in the form.

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TRUNCATED TETRAHEDRON CONNECTIONS

TRIANGLE TO TRIANGLE

It shows the tetrahedron in its most distupted form because it connects by the smallest planes in the shape, which could be interesting if we want to ephasise the tetrahedron as a pure form

Insertion of a pyramid joint between elements Making use of pyramids as joints can increase variations in the structure. However we felt it was unecessecary because there is already triangular faces we can join to, thus we did not need to add another volume between. It also creates undesirable symmetric forms because we are trying to facilitate incricacies which mirror the variation of individuals’ personal space.

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2nd Skin proposed design V.2 We seeked to explore HOW the tetrahedron could fit between the two surfaces (liminal zone); we achieved this through experimentation with scale, transparency and opaqueness, and different connections. These three variables allowed us to place the conglomerates of tetrahedrons in accurate articulation of the physical intricicies of the liminal zone created from the personal space diagrams.

SITE ANALYSIS intergration - Our overall form morphs from extremely volumetric, geometric, solid and opaque sections to more planar, framing, delicate and transparent elements as the overall form mimics the diversity of personal space. The more solid areas placed in more vulnerable parts of personal space vs the transparent aspects of the second skin that are placed in more neural zones.

Blurring effect - the morphing between translucent shapes and volumetric forms obscure and add onto the silhouette of the body. This adds ot the overall idea of someones silhouette and the ability to read where body ends being completely distorted.

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Design development Upon extensive analysis of the material system of panel and fold, in particular the incorperation of the tetrahedron, the exploration of this single module across a surface was of particular interest. The idea that this pattern across a surface, transitioning between opacity and translucency, will create a wearable “second skin” that has a twofold use: It liberates the wearer by exploring a series of tangible extensions to their physical body and thus manifesting their personal space. By doing so they are engaging the world with the notion that their identity extends beyond the physical boundaries of the body. It explores the idea of personal space as an extension of ones identity – thus the space is a part of you, which is why its so confronting when people intrude on it.

It also engages the viewer because personal space is all about how people navigate the others personal space, which is compromised and distorted through the tetrahedron modules, their form and material. Thus the form is both visually solid and transparent, an effective grounding for our design exploration.

LOST IN PARAMETER SPACE Digital design has had a dramatic effect on architectural practice since its inception. The architect is able through digital tools to return to a pre-renaissance concept of design and maker, for example the use of digital fabrication methods means that the architect can easily and quickly realise ever more complex and intricate designs. The use of patterning through parametric programs such as grasshopper, or paneling tools in Rhino enables and encourages the complexity of form without excluding the ability to fabricate.

Throughout the design process, we attempted to apply key theories as defined by ‘Lost in Parameter Space’ such as the the use of NURBS data curves in the creation of surfaces, the ability to map objects onto panelised surfaces and the parametric creation of planar, developable surfaces.

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Precedent Research Blur Building Liz Diller 2007

CONCEPT - Creating a haze

“ Architecture is nothing but a special-effects machine that delights and disturbs the senses” The project challenges the assumptions about everyday conventions of space - shown through a “productive nihilism that’s used in the service of creating a particular special effect”. It’s done through a form of subtraction or obstruction or interference in a “world that we naturally sleepwalk through”. Challenges the conventions of space and skin, and rethinks our dependence on vision.

The Blur Building is an “architecture of atmosphere” - a fog mass resulting from natural and man made forces. Water is pumped from Lake Neuchatel and shot as a fine mist through high pressure nozzles.

A smart weather system reads the shifting climatic conditions of termperature, humidity, wind speed, and direction and regulates water pressure at numerous zones.

Upon entering Blur, visual and acoustic references are erased - there is only the experience of an optical “white out” and the “white noise” of pulsating nozzles, thus Blur is decidedly low-definition.

In this exposition pavilion, there is nothing to see but our dependence on vision itself. It an experiment in de-emphasis on an environmental scale. Movement within in unregulated.

Water is not only the site and primary material of the building; it is also a culinary pleasure as the public can also drink the building.

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Precedent applied to design

Unlike entering any normal space, entering Blur is like stepping into a habitable medium. It’s formless, featureless, depthless, scaleless, massless, purposeless and dimensionless. All references are erased, leaving only an optical whiteout and white noise of the pulsing nozzles. So, this is an exhibition pavilion where there is absolutely nothing to see and nothing to do.

So, the audience is dispersed, focused attention and dramatic build-up and climax are all replaced by attention that’s sustained by a sense of apprehension caused by the fog.

So here the world is put out of focus, while bring out our absolute dependence on the master sense of vision is put into focus, and maybe share our kind of sensibility with our other senses.

Relates to our second skin in the sense that it explores HOW we navigate not only space, but each other through space. The effect of a haze distorts the viewers perceptions and creates ambiguity.

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SHADOW AND LIGHT EFFECTS

Precedent Research Olafur Eliasson, The shape of disappearing time, 2016.

CONCEPT - incremental patterns, light, luminous, shadow, shifting appearances, three dimensionality, an immersive environment A curved, steel geometrically ambiguous framework that contains an intricate arrangement of polished brass triangles hangs suspended from the ceiling. Light illuminates from the centre of the artwork and reflects off the panels, thus projects a beguiling pattern of light and shadow onto the surrounding space. The reflections visible on the outer brass surfaces of the triangles slide and shift in dynamic response to the viewers’ active engagement with the work. The movement of people around the artwork continually reveals new perspectives of the complex form, causing it to appear as a flurry of movement and light.

His use of illusions produced by mirrors and light that create pseudo-natural phenomena, and diverse visual experiences and experiments suggest new ways of perceiving, experiencing and responding to the shared world.

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gantenbein vineyard gramazio kohler All the same textures but when the elements rotate there is a shifting of light - thus the more rotated the shapes are the more light is able to come through the spaces, in contrast the less roated the objects are the less light is able to come through.

Patterns created by simple idea of rotating bricks - differential effect is quite incredible.

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Precedents applied to design Olafur Eliasson: “The parliament of possibilities celebrates the fact that the world and our feelings about it are constantly changing” – this relates to our personal skin project because we are exploring the how individuals’ perceptions of themselves as well as others are never static because of the nature of human interaction.

“When we see things as a continuous process of production and relation, we may also see their potential.” – we explore this through the notion of transcendence from solidity through to transparency that mirrors the continual morphing of personal space around the body. The effect of the light emphasises the transparency and creates a contrast between the ephemeral personal space, that we are trying to render tangible through the negotion of reality. This encourages people’s engagement and experience of being present in the work The second skin in this way may function as a mirror, reflecting a not-yet-verbalised emotional need to speak about personal space that we carry inside ourselves.

We will use this concept further in our second skin because the light illuminating from the centre/the body through the skin will create these incredibly evocative effects that will trancend into the audience in the final showing.

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Precedent Research Olafur Eliasson, One way colour tunnel, 2007 CONCEPT - Ideas of colour spectrum, double perspective, tunnels, walking, can you see things when you move Arched walkway that is constructed from triangular panels of colour-effect acrylic glass and acrylic mirrors.

The panels are assembled into a rugged form, with the longest triangles at the base of the tunnel and the shortest triangles forming pyramidal outcroppings on the ceiling. As visitors move through the passageway, they observe a fluctuating display of varied hues caused by the colour-effect acrylic glass, which changes tone depending on how light strikes it. When they look back, however, instead of seeing the colourful environment they just passed through, they are met with the dull black backs of the panels, with only hints of colour escaping through the interstices. The work is often installed on a semi-transparent elevated walkway that reveals a surprising view of the tunnel from below.

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Precedent Research Mirrorcube Tham & VidegĂĽrd Arkitekter The structure is a mirrored glass box suspended round the trunk of a tree in Harads, northern Sweden.

The exterior reflects the surroundings and the sky, creating a camouflaged refuge. The interior is all made of plywood and the windows give a 360 degree view.

The dimensions are 4x4x4 metres. The base consists of a lightweight aluminum frame around the tree trunk and the walls are covered with the reflective glass.

This concept was extremely important in our design in terms of the sensory effects of further creating a sense of distortion and disoreintation for the viewer when they look at the wearer and the second skin. It enables the wearer to render the liminal zone even more ambiguous.

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Precedents applied to design Testing effects Mirror and light elements The purpose of the mirror elements in the second skin is so that the reflections in fact distort and change in active response to the viewers’ engagement with the wearer and the skin.

The mirror elements also create distortions of segments of the environment so that as the viewer moves around the form, they will constantly be seeing misrepresentations of the surrounding environment as well as reflections of the skin itself which will detract from what lies underneath (the body) – ties in with the idea of not knowing where the body starts and ends and the liminal zone.

The light prompts reflection on rendering an intrinsically vulnerable notion of personal space and perception of the body impervious, unclear, and unnatural.

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Precedent Research BAUHAUS Costumes (theatre) MOVEMENT STUDY: ‘DAS TRIADISCHES BALLETT,’ OSKAR SCHLEMMER, AND THE BAUHAUS CONCEPT - Deforming the boundaries of the body, ambiguity.

Bauhaus, a modernist art movement that spawned from art schools in germany, and eventually spread throughout europe in the early 20th century. In 1922, Oskar Schlemmer used the human body as a medium, experimenting with pantomime and ballet with this performance (toured europe through mid 1930s).

By incorporating costumes that reduced the human figure to geometric, formalist shapes, das triadisches provided strange and humorous imagery via dance and dress.

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Precedent applied to design

We apply the concept through the second skin rendering the boundaries of the body ambiguous and inconceivable.

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Prototypes

The digital prototype allowed us to experiment with connections between the faces of the tetrahedron eg. using white cotton to connect - this was important because it created a more subtle connection. Furthermore, the cotton acecntuated the outline of each panel which may further enhance the textural quality of the skin.

We encountered problems in the process from digital creation to physical fabrication. The making process opened our eyes to the fact that while the design may be complete in the virtual world, there is much more to be done in relation to building it.

In bringing the design to fabrication, the polypropelene was “burnt� by the laser which created an undesired discolouration of the material.

Hand making prototypes also further enabled us to understand the structural qualities of our system.

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Critical analysis for module two: For module two, we were focusing on exploring our concept ‘liminal space’ and how it can be used to help us to create our second skin project. The concept of liminal space and measurement of liminal space were quite good explored in module 2. We also made a digital model to represent the idea of liminal space and that enhanced our understanding of liminal space as well. And then we determined two goals that our second skin needs to achieve. Firstly, we wanted to make our project tangible where our personal space extends to. Secondly, we want viewers not able to identify the person’s physical body boundary. After we determined our goals, we used matrix diagram to help us to make the decision on materials. We have geometrical forms in the horizontal line and soft to hard fold in the vertical line. However, this matrix did not really help us. We chose truncated tetrahedron as our infill material. Truncated tetrahedron is too rigid and stiff, although it is very fancy. The other thing is about the final digital design. We did not really follow our diagrams of liminal space. That is why the final design of module 2 was a little bit disconnected to our exploration of liminal space. The last thing we need to develop is about precedents research. We did a lot of precedent research and we tested those effects by using Illustrator and Photoshop, but we did not really use them into our module 2 final design. For prototypes, we made more than 20 truncated tetrahedrons with different sizes, but we only tried three materials which was not enough.

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Appendix Sommer, R., 1969, Personal space: the behavioral basis of design, Englewood Cliffs, N.J: Prentice-Hall

3. Fabrication

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3.0 FABRICATION

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In terms of assembly process, digital technology was involved for determining the location of each component, moving them into location and fixing them into place. Electronic surveying and laser positioning has replaced traditional methods such as tape measures and coordinates from drawings.

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Our project had a tessellation aspect to it as the unique pieces fit together in tight formation without gaps to form the surface. Because fitting the pieces together to form the coherent design had to be hand crafted, it was a time-intensive process we used staples as the method for attachment as they formed clean, strong connections. The 3D voronoi grasshopper program revitalised our design as we were able to quickly create greater variation and modulation through nonstandard generation of tessellated modules. The resolution of tessellation which approximated the surface allowed for the design to become smooth and precise while keeping the faceted nature of the design.

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Critical analysis for module 3: For module 3, we developed our design idea, we used variable cells to replace disjointed tetrahedral, that was successful because disjointed tetrahedral was unwieldy and unable to be realized, as the panel and fold technique was not evident enough in this module. And there was an unsuccessful realization of variability in the design as all modules were uniform and rigid. However, individual variable cells increased diversity and uniqueness for our design that we really needed.

Our fabrication process was pretty clear and well arranged. We used digital technology for determining the location of each component, moving them into the location and fit them into place. We also made the circuit plan on rhino to arrange the complex circuit. That made the fabrication of LED lights much easier and fewer mistakes.

The biggest fault on module 3 was the material chosen. We chose 1 mm mount board to be the main material for cells, 1 mm mount board has good stiffness and appropriate weight, but we ignored to investigate the property of mount board and the weight that mount board will be able to bear. Mount board has three layers and the connection between layers are not super strong, so after we glued or stapled them as the connection between cells, the outermost layer would have a risk of peeling off from other two layers when they are bearing strong external force. But that was not a big problem to the overall object.

The other mistake is about the tinted mirror sheet. The material’s property is what we really need, because of the flexibility which we are able to cut them to the shape we need. However, it does not have the adhesive layer (layer with glue). Therefore we used adhesive spray to stick the tinted mirror sheet to our cells. Firstly, if we did not spray it well, it would peel off on edges. Secondly. there will be some bubbles of air under the sheet somehow and we have to flat those bubbles. Thirdly if we carelessly spray some adhesive liquid on the mirror sheet, that would be very difficult to clear them up. We tried to use acetone, glass wash liquid, and polish foams to clear those adhesive liquids, but the surface of mirror sheet did not get cleaned as good as we expected.

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4.0 REFLECTION After twelve weeks study on digital design and fabrication, I have to say that I really enjoyed this subject and benefited me a lot. This subject has its own perfect teaching method. However, the whole schedule was a little bit rush. Looking back the procedure I went through from M 1 to M4, the amount of work this process produced and other outcomes through this semester have surprised me. I cannot image how much I learnt from module 1’s Frack mirror to module 4’s final design. This subject is not just about teaching us how to use digital tools and how to fabricate our project. It teaches us how to start a design by using precedent research, how to develop our design and how to work together with others as a team.

To begin the whole process by stepping back, the first object was the Frack mirror. I measured, deconstructed and reconfigured the Frack mirror by using the concept of ‘panel and fold’, and then I understand the logic of the folding system of the mirror. The method of deconstruction and reconfiguration allowing me to simplify and reconfigure complicated structure to very simple structure and can be much easier to understand the logic behind them, 3And it gave me further inspiration for my rest of designs as well. The other thing I learnt from module 1 is that ‘measured drawing show exact and objective truth about an object and photograph express the essential ‘feeling’ of it.

My group members were very individual and we did not really like to share our ideas and communicate with each other at the beginning. Obviously, it is not a group and we got a very low mark for module 2. Nobody can get an outstanding mark if they just work individually on this subject. And then we started to work as a group.

For the design part, I found the importance of precedent research and I learnt how to take out key concepts from our precedent researches. We used Hermione’s thinking of ‘liminal space’ to create the form of personal space and the distortion effect from our precedent research. After the form created, we started to think about our infill material or geometric shapes. To be honest, I don’t really like the idea of truncated tetrahedron. I prefer using the idea from Olafur Eliasson’s artwork which playing with light, reflection and transparency or the geometric shape of Al Bahar building. The delightful thing is we have added light and reflection to our final design.

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For fabrication part, it must be the most exciting moment of the whole semester, because we were approaching the goal. Although we spent 2 days in cutting tinted mirror sheet and figuring out the location for each component and 2 days on arranging all LED circuit and soldering them on and another 1 day on exploring the attachment. During the fabrication, the digital tool like Rhino helped us a lot. It helped us to arrange the location of each individual cell and helped me to arrange the plan of the circuit. Before we do the final fabrication, we hand made a lot of prototypes during the semester. Hand making is much slower than machine made, but hand making prototypes allowed us the freedom to explore the materials, the shapes, the connections without any predetermined result.

Results for prototypes are unknown, we can avoid a lot of troubles if we found those

troubles on prototypes. Digital tool and photographs and so many external tools are helping us to represent our design, but the design idea can only be made in our brain.

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5.0 APPENDIX Bibliography:

H.Pottmann,A.Asperl,M.Hofer, A.Kilian (eds) 2007, Architectural Geometry, p534-561, Bentley Institute Press Scheurer, F. and Stehling, H.Wiley,2011, Lost in Parameter Space? IAD: Architectural Design, 81 _4_, July, pp. 70-79 Branko Kolarevic. c2003 .Architecture in the Digital Age - Design and Manufacturing .Spon Press, London

Images: IKEA, 2017, The Frack mirror, viewed on 31 May 2017. Website: http://www.ikea.com/au/en/catalog/products/00181982/?query=frack+mirror N/D, Al bahar tower, Archi daily, viewed on 20 April 2017. Website: http://www.archdaily.com/510226/light-matters-mashrabiyas-translatingtradition-into-dynamic-facades/5384b0c2c07a8044af0000c0-light-matters-mashrabiyas-translating-tradition-into-dynamic-facades-photo N/D, Blur Building, DSRNY, viewed on 20 April 2017. Website: http://www.dsrny.com/projects/blur-building One-Way Color Tunnel, 2007, photograph, viewed on 20 April 2017. Website: http://www.jimonlight.com/2010/01/27/olafur-eliasson-requestthat-you-take-your-time/ The new planet, 2014, photograph. viewed on 20 April 2017. Website: http://olafureliasson.net/archive/artwork/WEK108539/the-new-planet Vineyard Estate Gatenbein,N/D. Photograph. Viewed on 20 April 2017. Website: http://openbuildings.com/buildings/vineyard-estategatenbein-profile-41989/media?group=image#!buildings-media/7 MOVEMENT STUDY: ‘DAS TRIADISCHES BALLETT,’ OSKAR SCHLEMMER. August 18, 2015. Photograph. Viewed on 20 April 2017. Website: http:// www.bagtazocollection.com/blog/2015/8/16/movement-study-das-triadisches-ballett-oskar-schlemmer-and-the-bauhaus-theater Definitive Proof Nobody Did Costume Parties Like the Bauhaus. OCT 31, 2014. photograph. Viewed on 20 April 2017. Website: https://www. curbed.com/2014/10/31/10029610/bauhaus-costumes

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