SEMESTER 1, 2017 DIGITAL DESIGN + FABRICATION
THE EMBRACE LAUREN HO 834731
LUCA LANA STUDIO 2
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CONTENTS 0.0 INTRODUCTION 1.0 IDEATION 1.1 OBJECT + ANALYSIS 1.2 VOLUME 1.3 SKETCH DESIGN PROPOSAL 2.0 DESIGN 2.1 PRELIMINARY DESIGN IDEAS 2.2 PRECEDENT RESEARCH 2.3 DESIGN EXPLORATION 2.4 DESIGN PROPOSAL - THE SECOND EMBRACE 2.5 DESIGN VISUALIZATION 2.6 PROTOTYPE v1 + TESTING EFFECTS 3.0 FABRICATION 3.1 DESIGN DEVELOPMENT 3.2 PROTOTYPE DEVELOPMENT 3.3 FABRICATION OF PROTOTYPE 3.4 PROTOYPE 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 REFERENCES 5.2 CREDIT
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INTRODUCTION SKIN & BONE ‘The Embrace’ explored the maximized potential unique to the skin and bone system. This meant ensuring the fundamental principles to the system were typical of a skin and bone structure being that both the skin and bone relied purely on each other for structural support and with eliminating one, would deplete the other. Key to the design development was also to ensure that we created a design that the other systems section and profile and panel and fold would not be able to achieve.
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1.0 IDEATION
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1.1 OBJECT
In this study I have used an umbrella to explore the skin and bone material structure. This plan view exhibits the outstretched arms (bone structure) which creates the umbrellas frame and the fabric (skin structure) which stretches over the given frame.
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TRANSFORMATION ANALYSIS This diagram shows the transformation from the open to closed state of the umbrella. As illustrated, when the steel catch that supports the umbrella structure (B & C) is pressed, it allows the arm of B and therefore resultingly also C to slide in a downwards motion allowing the umbrella to be packed and tied into a compact cylindrical shape. In contrast, when transforming from a closed to open state, D is slid back up the pole, as it gets higher, causing the arm of DE to outstretched and resultingly causing the previously straight arm (FG) to bend creating an increasingly tensile force between the points ultimately creating the curved umbrella canopy shape that appears.
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I used the program Rhino to create this digital model of my object. Key tools used included line, curve, offset, sweep, revolve, rotate and copy. I began making the outstretched arm of the umbrella then did a single rail sweep to create the three dimensional tube. I then copied this singular arm and copy rotated the arm 5 more times creating the main frame. I then created a 6 sided polygon surface that I then revolved to make the umbrellas shade. I then created the pole, handle and umbrella tip again using the singular rail sweep button. Finally I added the shorter arm which I used the same rail sweep function to extrude. The various views of the model have been presented to a digitally shaded appearance creating shadows and exhibiting depth.
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Materials: Umbrella frame Tracing paper Umbrella caps Clear ties Black foam core
This model was created through the reconstruction of my object, the umbrella. Continuing the use of a skin and bone material system, I have taken and reconfigured the bone element (umbrella frame) as well as adding a new skin element (tracing paper) to create my sketch model. As you can see I broke the umbrella arms into smaller pieces working to the scale of my model and rearranged them in an abstractive manner. I then used the tracing paper which I spanned the distance of various umbrella arms in combination with a few ties to hold the skin and bone system together. I then finally added the caps to the end of the arms adding protection from the sharp arm edges similar to how they are used in the original object.
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1.2 VOLUME
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1.3 SKETCH DESIGN #1 MAXIMAL STRUCTURED PROTECTION This design focuses on firm structured protection to the majority of the body as well as key focus on the space in the immediate vicinity of ones face. This design based on the skin and bone materialistic system will consist of a frame of geometry that will wrap around the body but will still sit comfortably. The bone structure will then be wrapped in various materials creating a clear protective boundary from the invasion of ones individual personal space.
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1.3 SKETCH DESIGN #2 EXPANDING ARMOURED WINGS BRACE This design focuses on the upper body creating a dynamic contraption that will spread and withdrawal determined by the level of discomfort from the invasion of personal space. When seeming personal space has been breached, the wings and head piece will spread restricting any entrance into the small proximity of the individual wearing the contraption. The bone structure will be made from material that is able to minimise and expand easily, and the skin will be made from a string that would be wrapped 4.0 REFLECTION around the bone structure similar to a netting .
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1.3 SKETCH DESIGN #3 WAVE OF PROTECTIVE DEFENSE This design is closely worn to the human figure as it wraps thickly in spirals around the body focusing on protecting key areas of the body from personal space invasion. A tube will twist around the body creating the bone structure and the skin will be created with string that will aim to hold together and support the bone sturcture. In regards to personal space, the design focuses on protection as a defense mechanism and the skin will emphasis this, as areas that I feel are easiler invaded (chest, face, backside) will be more heavily guarded.
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M1 REFLECTION In this initial module I explored the analysis the re-contextualization of an umbrella categorized within a skin and bone system. This process involved carefully measuring dimension and analyzing the details of both the umbrellas appearance but also its functionality. As Heath expressed in the book, ‘300 Years of Industrial Design’ that ‘observation is a necessary part of creation’, as I undertook this process for my umbrella and eventually its reconfiguration into sketch designs for a wearable personal space garment, the reality of the statement became very clear. As a result of my analysis of my umbrella skin and bone system, when developing ideas for this garment, I had a much better understanding of how I could meet the requirements of the brief in terms of how personal space can be interpreted as well as the characteristics of a skin and bone system. However, saying In my sketch designs I ended up restricting myself due to the concepts of personal space potentially too much. This was potentially due to having a set definition of personal space as separating oneself from others, however actually it could also define as how you welcome someone in. As a result my designs were all very protective and securing of areas that I felt were easily invaded.
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TEAM MEMBERS:
Madeline Gundry 759778 Szeharlaigne Yen 720182 Di Wu 860315
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2.0 DESIGN
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2.1 PRELIMINARY DESIGN IDEAS The notion of a kinetic enclosure system in its physical state has formed the beginning of our conceptual design; creating the ability to form a screen of privacy containing personal space whether individually or with the comfort of another. Enhanced by the idea of using the individuals’ arms as a mechanism to generate the kinetic aspect, allowing the individual to be in control of their immediate personal space. Fluid hyperboloid forms that moulds around the individual influencs the aesthetic while incorporating the material component of a flowing, curved, flexible material.
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IDEALIZING PERSONAL SPACE Following the reading Sommers Personal Space (1969), personal space refers to an area with invisible boundaries surrounding a persons body, into which we experience discomfort with the presence of intruders. Although intruders are not welcome into this space, the companionship of somebody close to us or somebody we love within this space is extremely comforting and something we ultimately desire. Perhaps the gap between these spaces then merge and instead create an attractive effect. Personal space also changes with differing situations, by exploring two strangers and how they interact with each other in public situations such as sitting on a bench, strangers would stand or sit as far away as possible from each other. If you replace this stranger with somebody who is close in relation to, or someone that they would desire to be close with, the space between each other diminishes, regardless of the surrounding space.
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2.3 PRECEDENT RESEARCH
VEASYBLE BY GAIA AT ISTANBUL DESIGN WEEK Concept: Intimacy, Isolation This particular project focused on creating a series of wearable objects that could be transformed into an object of isolation or to create a sense of personal intimacy in any environment. This led to the design of an ornament that could be worn at anytime to create a private place for intimacy or a place to be alone. The design was set to encompass “a strong, dominate exterior that conceals a fragile, personal interior.�
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BUBELLE BLUSHING DRESS BY PHILLIPS DESIGN Concept: Emotion, Visual Sensing This particular design explores emotional sensing technologies to display the emotions of the user through the presence of LED lights. The concept of the ‘mood ring’ is further explored through the use of sensors that read excitement levels and display the emotional state through pattern and colour change. The design encompasses a delicate bubble surrounding that interacts with the skin, displaying different illuminations depending on the feelings and personality of the user. The idea of incorporating electronics into the second skin garment to express emotion and further enhance the experience of embrace was inspired by this design. When you are in the presence of someone you love, positive emotions are eroused and by showing a glow we emphasis the intimacy and uniqueness of this moment.
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CAN’T AND WON’T DRESS BY YING GAO Concept: Movement, Emotional Expression This design consists of two dresses that feature robotic movement and facial recognition technologies that allow movement within the dresses, as if they were breathing. As people around the dress display even the slightest bit of emotion, the dress will ‘freeze’ in an attempt to further explore the effects of emotional expression on our surroundings. The concept of movement within the dresses inspires our second skin design, as by allowing interaction with the user, the sense of emotionality can further enhance the effect of the garment.
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2.3 DESIGN EXPLORATION The process of design exploration evolved with the ideas of the precedences and preliminary works in mind, generating different forms of ideas in different components. Materials such as wires and wood were considered, different mechanical joint possibilities were made into informative diagrams and further conceptual designs were then explored. The idea of a fluid form was favored due to its comforting connotations something that we aimed to convey due to the conceptual intimacy within the design.
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MATERIAL EXPLORATION The design process involved working with a series of stiff materials such as wood, fence wire and chicken wire to explore different ‘bone’ characteristics and possibilities of our design. These materials were extremely sturdy and created possible structure scenarios, however it was faced with challenges. The goal was to create a design that encompasses movement and can be manipulated to change its form depending on the user. These materials were inadequate under the effects of gravity so movement was not achievable. Another issue was that due to the rigidity in many of these bone structures the materials were too stiff to manipulate into the intended fluid forms and curves. Many also still held their shape with the elimination of the skin structure, which technically made the system not true to the characteristics of a skin and bone. Thus new materials or methods had to be explored to achieve the desired type of effect. Due to design constraints and the vast possibilities of the type of materials we may use, it was essential to create real-life models and prototypes at an early stage of the design process.
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LED LIGHTING To further emphasis the concept that the design is incomplete without another, we have decided to include a series of LED lights that will light up the whole design when the two people come together in embrace and hold hands. To create the illumination, the design process involved exploring various techniques and materials to create an array of LED lights that can be connected to the model. Materials such as aluminium foil, PVC insulation tape, wire, dry batteries, different LED colors and resistors were used to create a circuit. The switches of this circuit are constructed out of aluminium foil which will be attached to the users hands. When the two users come together it will create the sensation that they are glowing, further promoting positive emotion within this moment, a moment that is special.
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2.4 DESIGN PROPOSAL ‘THE SECOND EMBRACE’ The design concept explores the notion of capturing embrace and intimacy, by allowing somebody into our personal space and encapsulating the moment. Our design is incomplete without the presence of another, as the two people come together in embrace, our design combines to create a finished, enclosed structure. The design has a dual purpose, to use the design to create a space barrier that prevents strangers from entering the space we restrict for ourselves and to allow those that are close to us. The second skin is user specific, as the user chooses the distance of their personal space while also giving the freedom to let the presence of another within their protective barrier or use it purely for themselves, something that is determined by the individuals preference or comfort levels. We chose to work with the senses of touch and emotion, as when we are in the embrace of someone we love, we feel comforted, safe, warm. This is a feeling that provokes positive emotion and we wanted our design to encompass these elements. Touch is explored through the interaction of two people, who must converge together for the design to be complete. However if desired, the user could use this design for the prevention of touching others, to ensure ultimate comfort: whether in isolation or in an embrace.
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To inform a design that could combine two people, to explore the notion of intimacy, closeness and embrace through a dual person design. This concept led us to the idea that our design could be incomplete without the presence of another person, but with the movement of embracing another, the design could form together to encapsulate the moment. As we explored and discovered the movement of the new materials, we let our findings influence our visualized design. This ultimately led to us deciding to use four elongated ‘arms’ that combine together to create our body aspect of our design.
In addition to this, we have created a headpiece that is constructed out of the same elements. This headpiece is envisaged to be worn by another person that is close to the user of the body piece. We imagine that as they come together in embrace, the design combines together to create a closed dome, that can be used at anytime or anywhere to create a private place for intimacy and encapsulate the embrace.
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2.5 DESIGN VISUALIZATION
The concept of our design captured in these Rhino generated graphics depict two states of ou and the second an enclosed state. Both the body and headpiece have been functionally d either opens or closes depending on the desires of the individual. This allows the individual to be personal space allowing them the option to whether they wish to welcome people in, or shield themselves from Elongated arm elements are connected to the body at 2 points: at the back to secure the second skin and at the hand through the arm elements and attached to the hands of the user. By doing so, it allows the movement that encompass to position the second skin depending on their circumstances. While in a relaxed position the body is still protected by of the user move to embrace another or even for their own protection, the design then obtains a larger volume to
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ur design, the first an open designed so that the design in control of their immediate m strangers or potential danger. ds, whereby fishing line is threaded ses our design, permitting the user y the second skin and as the arms confine themselves with another.
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2.6 PROTOTYPE AND TESTING EFFECTS This metal material’s form is extremely dependent on the stretchy nylon ‘skin’ that we placed over it to create it’s intended shape, as it was moulded into a thin, long and curved shape that we used for the ‘arms’ or our design. This arm created a skin and bone function, as one could not remain in the same form without the other. With this new material, we faced the issue of the wire bending when moving the design, so we decided to incorporate ‘armature wire’ studs across the arm to maintain the desired shape we were searching for. Finally, we added the presence of ‘fishing line’ to create a clear and flexible join between the multiple arms that could be attached the hands of the user. This line allowed the functionality of movement to our design, encapsulating the concept of isolation and intimacy as the user manipulates the arms to create a barrier for themselves or with another within differing situations.
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M2 REFLECTION In this module we were faced with numerous challenges in particular associated with the effects of gravitational force. Based on our concepts began exploration into the module of creating a design that incorporated volumeous fluid curvature, however though prototyping we discovered the issues that the weight would immediately drop and fall out of position. After multiple prototype experimentation with the use of certain materials we were able achieve volume that held its intended position, however this success was soon crushed the moment we attempted to encompassed our other conceptual element of kinetic movement into our design. Reading the excerpt fm Scheurer and Stehling’s, ‘ Lost in Parameter Space’, our findings were contradicted as they described that, ‘complex shapes can only be handled digitally’. I really questioned this statement coming from our perspective of reliance on manual prototyping rather than digital modeling as these programs did not take into the consideration of gravity, which was a big factor in our design. Instead our use of the digital modeling programs we more of a representation method used only once we had an idea developed from prototyping in mind.
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3.0 FABRICATION
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3.1 DESIGN DEVELOPMENT FORM AND NARRATIVE DEVELOPMENT Continued form module 2, the basis of our design was kept to involve two separate systems that compliment each other using both a male and female piece. In terms of narration, our concept explored the connection between two lovers.
The design incorporated two
components, the female ‘Armour’ allowing her to protect herself form harms way and the ‘Helmet’ that protects the males head rather than his body. The two pieces come together and form the ‘encapsulating’ moment of an embrace, providing a symbolic representation as well as a second skin that separates their ‘affectionate’ moment from their surrounding environment.
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CONCEPTUAL DEVELOPMENT The concept of Personal Space incorporated in an embrace is shown in the sketch drawing, portraying that the most personal zones within the frontal regions on both individuals spaces are protected and shared. Thus the embrace is something that would in effect protect one another withinx the other unprotected zones as shown on with yellow highlights encompassing the backs of the two individuals and their heads.
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3.2 PROTOTYPE DEVELOPMENT From
our
module
2
feedback
that
expressed
concerns over how the other system panel and fold could potentially create a similar design, we transformed our model from a single, planar piece to a three dimensional unit split into three parts, labeled the bud, stem and root. The movement element was also slightly reconfigured and revamped to allow the opposing person to activate the encapsulating moment through a pulling system, this idea being it is the other person’s choice to engage into embrace. Maximizing the skin and bone system, we moved to explore how this new 3-dimensional aspect would be achieved, which we decided to focus on hyperbolic paraboloid and the effects of a minimal surface that could be achieved from stretching a skin over a bone structure.
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READING RESPONSE WK 6 Architecture in the Digital Age - Design + Manufacturing/ Branko Kolarevic, Spon Press, London c2003 The rise of digital technology has provided an ability to fabricate the curvilinear surfaces featured in contemporary architecture, through the various processes of three-dimensional digitalisation that allow accurate physical designs to be manufactured through digitally based fabrication. These processed include two-dimensional fabrication processes, that includes computer numerical control milling and laser cutting. Various three-dimensional
processes,
such
as
subtractive
fabrication,
consisting of the removal of specified volumes of the material, multi axis milling processes and CNC milling , additive fabrication, a layer by layer addition process, formative fabrication consisting of the reshaping and deformation of materials. There are also reverse engineering processes, from physical to digital, incorporating three dimensional scanning of physical objects through contact methods such as a probe to trace surface, non contact scanning methods such as laser scanning to create a there dimensional digital model of scanned object. With our design, the digital process was not overly useful for the skin and bone material system, so we opted for physical modelling process. However, the back piece of our final design was employed through digital fabrication of, subtractive technique of laser cutter.
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READING APPLIED TO DESIGN The digital fabrication process enabled us to visualise the realistic composition of our model and allowed us to create a relationship between the back-piece and our arm units. Using a subtractive laser cutting technique with MDF board, we created and assemble a back and head piece in a short amount of time that connected our design to our body. The digital fabrication process enabled us to visualise a realistic composition of our model when we were struggling with envisioning a design that could work cohesively with our skin and bone design to attach to the body. Rhino allowed us to create a relationship between the back-piece, headpiece and our arm units that sturdily connected the elements onto the body. Using a subtractive laser cutting technique with MDF board, we created and assemble
a
back
and
head
piece
consisting
of
elements
that
slotted within each other to create a latch for the arm pieces. Although the digital design process was not overly useful for the skin and bone system, it was an extremely vital tool for establishing and completing the final product.
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READING RESPONSE WK 7
Digital Fabrications: architectural + material techniques/Lisa Iwamoto. New York: Princeton Architectural Press c2009 As digital modelling technologies rapidly improved, the tools available for architects to create designs with complex curves and geometries increase correspondingly. We found the component of the reading about sectioning to be of interest, as computer modelling has provided an ability to transform sections from a two dimensional exercise to a process of cutting through a formed three-dimensional object. The digital technique provides an ability to physically manufacture designs, but also is an extremely vital tool of communicating design ideas in a complex manner. Sectioning was used as a technique to translate design information to the builder, with the shift in technology this information is now used to communicate with a machine. With the ability to use sectioning commands to instantaneously cut parallel sections, Architects can experiment with this technique to create and display complex surface detailing and structures.
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READING APPLIED TO DESIGN Digital design provided a solution to creating a series of panelling modules that could be incorporated into the back piece and headpiece, providing a quick solution to attaching our design that may have not been achieved without the use of digital modelling. Additionally, it provided us with a tool to envision our design in a physical manner. The implication of digital design was a heavily vital tool for the completion of our design, through proving a solution to creating a series of panelling modules that could be incorporated into the back piece and headpiece in a timely manner. This solution may have not been achieved without the use of digital design and fabrication. The basis of digital design was formed around functionality and focusing on withstanding the effects of gravity and less on aesthetic impact, so that we could attach our arm pieces at an optimum angle to achieve the greatest effect and exaggeration of encapsulating space.
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3.3 FABRICATION OF PROTOTYPE Within the system we tried to understand the mechanisms and the limiting factors of both the different materials of skin and bone and thus further develop the design in a systematic manner. The total length of the circumference in terms of the car shade structure was limited to 269cm. The design of the CSF (car shade frame) is that of a strip that loops into itself and that is what makes the material a special type of framing system due to the way it loops around when applied with pressure. The CSF when applied with force on two sides of it equally, the frame buckles in form. When the frame was placed with noggings on equal ends, it was possible to seperate the frame into 3 different sections that can be altered accordingly.
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3.4 PROTOTYPE OPTIMISATION MECHANISM OF MOVEMENT
The intended effect was an effect that would be conducted through the movement of the design. Previously in M2, this was achieved through the movement of the arms that would wrap around the body of another individual. By creating a movement system element for our design, it created greater visual effect and a greater display of a skin and bone material system. The design was optimized through the use of a nogging and string system that looks along the ends and joints of the unit pieces. When the string system is pulled from one end, the unit is able to curve.
SINGLE LEAF UNIT
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OPEN VS PULLED BY STRING SYSTEM TO ENCLOSE
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PROTOTYPE OPTIMISATION MATERIAL CHOICES AND BEHAVIOUR In terms of material exploration we tried to explore towards another bone system with the use of polypropylene and cutting it into strips however this was not effficient enough because the material was not as strong as we wanted as we needed the bone structure to be stronger than the skin material in order for the form to occur in the intended design. Another material we tried was cord however it did not have a flat surface that bent the same way as the car shade frames and was too heavy to hold up it’s structure. Thus we went back to using car shade frames.
ARMATURE WIRE BRACING
CABLE WIRE
Noggings are unrefined and obtrusive
Too heavy, bone structure too strong for skin structure
CORRUGATED POLYCARBONATE ASTRO ROOFING Bone too weak for skin structure, rough edges tore skin
Furthermore, the skin designs we tried with various two way stretch fabric of different shapes involving circular pattern of cutout elastic material as well as a longer skin material in comparison to the nylon stockings. However both systems were not adequate enough as the circular skin allowed the material to form into it’s original circle shape and the long material made the frames buckle. Thus we went back to our original skin and bone material systems using carshades and nylon tockings.
THICKER STOCKING
PRE SIZE STITCHED SKIN
STOCKING MATERIAL
Skin too strong for bone structure
Skin form did not rely on the bone structure to achieve
Tore easily, but used hairspray to reduce tearing susceptibility
minimal surface
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SAMPLE OF CARSHADE MATERIAL THAT WE EXTRACTED THE BONE TO BE USED WITHIN THE PROJECT DESIGN
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PROTOTYPE OPTIMISATION STANDARDIZING UNIT PIECES The prototype of the units were optimized in it’s design through strategic placements of noggings and bracings. The singular arm elements of our design now consists of a three dimensional unit that is split into three parts, labeled the bud, stem and root. The bud consists of a four sided 3d shape that is fixed in middle point, inhabiting the frontal and visual section of our design. The stem incorporates a three sided three dimensional shape, braced by triangular noggin module in centre section. This element is fixed on both ends and experiences the greatest movement when pulled. The root of the design is a two dimensional, planar shape that is completely fixed and holds the pulling aspect of design, located at back of piece where it is then attached to the body. The triangular module is constructed using foam board, creating an equilateral triangle with divots for the bone, creating a regulated shape.
BUD HEAD The most visibal end of the unit and comprises of the 3 dimensional four sided shape. Allows a volumous formation to occur throughout both of the modules.
STEM JOINT This part of the unit experiences the most transformation when the moving mechanism i s utilized. Is made of a 3 dimensional 3 sided form, braced by a triangular node in the middle.
ROOT END Fixes the unit onto the back plates and head plates of the two modules, is comprised of a planar surface that allows the pulling mechanism to occur in a single plane/direc-
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tion.
By adding a three dimensional aspect to our design, a larger and more complex form was achieved, providing the ability to create a more private and intimate space with our design. As the two people come together in embrace and activate the movement aspect, the headpiece and body module features of our design converges surrounding barrier
together space. can
be
to
created
Ultimately, achieved
an a
confined protective
with
the
encapsulating space with greater volume in Module Three.
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PROTOTYPE OPTIMISATION STANDARDIZING BRACING PIECES It was required for us to provide a sort of bracing mechanism for the head and back modules in order to attain the desired form. The process of creating the back and head piece elements of our design through digital design and fabrication began with measuring the curve of the body of our models, plotting results onto rhino and then measuring the curvature of the model’s body. This step was necessary to attain comfort for the models. Afterwards, interlocking designs were then made to provide strength and security of the bracing. The main principle of this design was functionality to withstand gravity and stay in place on the body, and secondly for a possible aesthetic effect. The angles of moving units, especially in the head piece were designed to achieve the ultimate encapsulation of both models.
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PROTOTYPE OPTIMISATION STANDARDIZING BRACING PIECES
Once the design was finalized within rhino, it was then sent towards laser cutting. This was an efficient method as it allowed us to design a backpiece quickly and efficiently while at the same time ensuring that the pieces utilized would stay in a virtual reality context. In alot of instances for the back brace, digital fabrication has proven to be more helpful, due to the fact that the back brace and head brace was more of static components rather than dynamic components of our units. The material utilized at this stage was the use of MDF. This is due to it’s high strength and stiffness, as well as that it was a ready material available within the FabLab.
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3.5 FINAL DIGITAL MODEL Although not useful for prototyping in the design development process, the digital representations have after been used to depict clear representation of the individual components to the design. Presented as an isometric, plan and two elevation views, allows for a clear understanding of an otherwise relatively complex system integration.
Diagramatic isometric, plan and elevational views of final digital model of the male helmet of ‘The Embrace’.
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Diagramatic isometric, plan and elevational views of final digital model of the female armour of ‘The Embrace’.
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Clearly evident in these digital models are the uniformity structural base of the design. This was important to ensure we had control over the effects of the gravitational force and the movement that the design aimed to endure.
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Final digital model allows for the clear diagrammatic representation showing how the two separate pieces come together and connect the two individuals creating ‘The Embrace’
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3.6 FABRICATION SEQUENCE
Firmly duct-taped two bone frames together on brace side
Firmly duct-taped 30cm from ends the support joint
Used flexi-plastic to mould firm brace so hold two bone frames perpendicularly apart
Covered brace in black duct tape to hide stark white plastic (aesthetic based)
Stocking pulled tightly to the full length of the bone structure
Digitaly fabricated both the head and back brace. Looped together with
Slotted units into brace slits
Attached individual units to assigned braces
fishing wire spirals
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Attached a fixed string length to bulb end for pull system
Tied other end of string to brace side but not secured to allow for pulling motion
Created mid braces with black foam core. These slotted between bone
Stocking stretched tight and sliped over frame to create skin component
structure to allow for extrusion
Completed wing piece
Determining how the two pieces would physically connect
Pull system works so that you activate the other persons garnment - pulling their strings
Final ‘EMBRACE’
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3.7 ASSEMBLY DRAWINGS
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3.8 COMPLETED SECOND SKIN
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M3 REFLECTION After feedback from module 2, we realised we were not maximizing the potential of the skin and bone system and that we needed to elevate the complexity of out design. Pushing towards the formation of a 3-dimensional volume, we aimed to explore the idea using knowledge of hyperbolic paraboloids and the minimal surfaces they create explained in Alison’s lectures. Also apparent as we neared the production of our final model was the importance of accuracy, with the slightest variations leading to major changes. Due to a very manual development process, we met these issues more likely than we would have liked and as a result for us to work with meticulous precision in terms of measuring distances and angles when creating each of the designs unit. As we found, the slighted discretion in angle of distance could result in a completely different movement when pulled of each unit eliminating the level of control we had over the design. Despite Kolarevic’s expression of the usefulness of digital technology, in terms of our design, only our braces for the design were digitally designed.
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4.0 REFLECTION Undertaking Digital Design Fabrication this semester has definitely expanded my breath of understanding in terms of design principles and process as a designer. Despite my architecture major, I undertook this subject giving me a taste of a combination of industrial design and fashion broadening my perspectives on design. I entered the subject at the beginning of the year expecting to grasp a better understanding of various computer programs and the FabLab equipment however due to my chosen skin and bone system this didn’t end up being the case. However, despite my initial thoughts, this subject has most definitely increased my basic knowledge of these programs in terms of their potential, limitations, pros and cons to achieve a specific task that no doubly will be very useful for my future architecture course and ultimately the architectural industry. Heath expressed in the book ‘300 Years of Industrial Design’ that ‘observation is a necessary part of creation’ and this couldn’t be truer. After undertaking this whole journey, taking the time to look back and reflect at the remarkable progression from the exploration of a mere $2 umbrella to the outcome of our final model is quite amazing.
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Upon determining our personal space concept, we undertook what Alison described in the lectures as a semi top down approach. Our concept drew influence from ‘Veasyble’ by Gaia that encapsulated a physical notion of isolated intimacy as well as Ying Gao’s ‘Can’t and Won’t Stop Dress’ that explored the idea of a third conditional occurrence that was evoked from surrounding human interaction. We successfully incorporated both these ideas into our own creating the affectionate ‘Embrace’. In the words of Alison to ‘GO BIG!’ with our designs, using these concepts we began the process of developing our designs. Due to our chosen skin and bone system we became heavily reliant on a more hands on development process away from digital technology undertaking trial and error in the aim to achieve our ideas. The reading ‘Building the Future – Recasting Labour in Architecture defined craft ‘as a skill developed over time’ which was definitely the case in our journey, the success of the project only being possible after the continual physical trialing of ideas. The reading also noted how the process of ‘mediation between tools and objects produced’ but also ‘between design as a process of
imagination and production as a process of technique all interrelated considerations which I couldn’t definitely understand due to aiming to meet our initial design which we slowly had to reduce refine to meet in the middle when taking actual construction and fesibility into consideration. Scheurer and Stehling’s, ‘ Lost in Parameter Space’ expressed the idea that ‘complex shapes can only be handled digitally’ however after undertaking our project I would question this, instead maybe referring it as a hands on approach may not be as efficient in achieving particular results. However our design has proven that actually without the main reliance of digital technology in our case resulted in a unique quality that current digital fabrication could not create.
Finally in terms of our final design, by using our knowledge on ‘minimal hyperbolic paraboloid surfaces’ that Alison spoke about in the lecture, allowed us to maximise the skin and bone system creating a unique model.
Overall I am very proud of our groups achievements and progression with the design throughout the semester, at the beginning of the process I could have never imagined that our design would evolve to a unique skin and bone system project that responded to both high levels of conceptual and physical complexities.
5.0 APPENDIX 5.1 REFERENCES 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 Cheng, R. 2008. Inside Rhinoceros 4 / Ron K.C. Cheng. Clifton Park, NY : Thomson/Delmar Learning, c2008. Enric Miralles,Carme Pinos, 1988/1991, “How to lay out a croissant” El Croquis 49/50 Enric Miralles, Carme Pinos, En Construccion pp. 240‐241 Heath, A., Heath, D., & Jensen, A. (2000). 300 years of industrial design : function, form, technique, 1700‐ 2000 / Adrian Heath, Ditte Heath, Aage Lund Jensen. New York : Watson‐Guptill. Iwamoto, L. (2009). Digital Fabrications: architectural + material techniques. 1st ed. New York: Princeton Architectural Press. Kolarevic, B 2003, Architecture in the Digital Age ‐ Design and Manufacturing /Branko Kolarevic. Spon Press, London Marble, S, 2008. Building the Future: Recasting Labor in Architecture/ Philip Bernstein, Peggy Deamer. Princeton Architectural Press. pp 38‐42 Rifkin, J 2011, The third Industrial Revolution. Palgrave Macmillan.pp107‐126 Sommer, R. 1969. Personal space : the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J. : Prentice‐Hall, c1969.A Scheurer, F. and Stehling, H. _2011_: Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 _4_, July, pp. 70‐79
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5.2 CREDITS Lauren Ho Szeharlaigne Yen Madeline Gundry Di Wu
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