M4 Miki Ueda Section and Profile 2017

DIGITAL DESIGN + FABRICATION SM1, 2017 SECOND SKIN: A CONNECTIVE SKIN Miki Ueda

(779237) Nic Dingwen Bao, Group 11

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0.0 INTRODUCTION Two old friends meet. They have been living in different countries and recognise slight changes in the other.

Slight differences in the way the other speaks, gestures, presents themselves.

This provokes a mutual curiosity and invites these old friends to look closer.

They are cautious at first. But as they inspect the distance between them begins to contract.

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They interact.

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Contents: 1.0 Ideation 1.1 Lantern 1.2 Object + System Analysis 1.3 Volume 1.4 Sketch design proposal 1.5 Reflection 2.00 Design (list your team’s member name on this cover page) 2.10 Design development intro 2.20 Digitization + Design proposal v.1: The Extendable space 2.30 Precedent: The Drop Series 2.31 Design proposal v.2: The Pod 2.32 Prototype v.1 + Testing Effects 2.40 Design proposal v. 3: The Halves 2.41 Prototype v. 2 + Testing Effects 2.50 Precedent: C Space Pavilion 2.51 Design proposal v. 4: The Interactive Space 2.52 Prototype V.3 + Testing Effects 2.53 Prototype V.4 + Testing Effects 2.60 Reflection 3.0 Fabrication (list your team’s member name on this cover page) 3.1 Fabrication intro 3.2 Design development & Fabrication of prototype v2 3.3 Design development & Fabrication of prototype v3 3.4 Final Prototype development + optimisation 3.5 Final Digital model 3.6 Assembly Drawing 3.7 Fabrication sequence 3.8 Completed 2nd Skin 4.0 Reflection.

5.0 Appendix 5.1 Credit 5.2 Bibliography

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1.0 IDEATION The lantern is deconstructed in order to understand the form and truly respect it (Heath & Jensen, 2000). The abstraction process opens paths of design directions, which will inspire the basis of a an architectural design situated upon a human body as its site, embodying the concept of a subject’s personal space; their second skin.

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1.1 LANTERN

There is an importance of producing measured drawings of an object, this is to have a full understanding of it and to show respect towards it (Heath & Jensen, 2000).

The measurements of the paper lantern were made by measuring the phyiscal object with a ruler as well as also scanning the lantern in flattened form, then over it tracing it.

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TOP ELEVATION 1:2

BOTTOM ELEVATION 1:2

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Flattened lantern Max Width: 98mm

FLATTENED SIDE ELEVATION

Width at top: 45mm

Height: 200mm

1:2

Supportive vertical wire height: 210mm

Lantern Height: 200mm

Width at bottom: 37mm

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FLATTENED PAPER SHEET FRONT ELEVATION

EXTENDED SIDE ELEVATION

1:2

1:2

Diameter: 210mm Diameter of top opening: 68mm

Top circular wire details diameter: 10mm

Paper pockets that the wire sits in: 3mm

Bottom opening diameter: 46mm

PAPER LANTERN ISOMETRIC 1:2

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DIGITIZED ISOMETRIC 16

1:2

Digital modeling process consisted of the following steps. An arc based on the diameter and height between top and bottom of the lantern was created, then revolved. A cylinder with the same height was created, then a helixed with 16 turns, like that of the wire of the lantern. Helix flowed along surface of the cylinder. The helix was copied to make the wire framework. Helix piped, paper frame helix piped thicker than wire frame.

The vertical support was created to dimension and piped to a 0.5mm radius.

The vertical support then juxtaposed into the wire frame. 8x partially revolved arcs to create paper overlaps of lantern.

DIGITIZED ISOMETRIC 1:2

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1.2 LANTERN + SYSTEM ANALYSIS

The paper strips are actually vertical sections which are stretched to appear as sections of the cylindrical form that is the lantern.

The diagram demonstrates the construction process step by step counter clockwise, where the left side demonstrates the top elevation view and the right side demonstrates a sectional view.

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The nature of the lantern being made from a maleable 2d wire form allows it to stretch into displaced sectional form from flat to volumetric.

The following shows a study of different force reactions at 3 different moments. The left shows the initial reaction of the applied force, the diagram next to that shows the application of maximum force, and the far right shows the moment where the force stops being applied.

Tension

Compression/Tension

Lateral

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1.3 VOLUME

1.8 Volume: Images of developmental sketch model produced after Making workshop ( reconfigur

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red material system)

I took inspiration from my analysis of the lantern and played with forces. In this exercise a tensile force causing warping of the flattened structure to create something volumetric.

This 3D sketch model is a volumetric exploration of materiality. Here I used cardboard to recreate the sectional nature of the wire lantern structure.

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1.4 SKETCH DESIGN PROPOSALS

Side Elevation

Back Front Elevation

Form finding sketch of a llantern under compressive and moment forces

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k Elevation

Artist Impression

SHELTERING SKIN A reactive behavior of having one’s personal space broken is to face away from the perpetrator (Sommer, 1969).

The definiton of personal space is flexible in this design, where depending on the way the subject faces, they can achieve different personal space. One angle is for the use of when one’s comfort zone

is being pushed, where the subject can reside themselves in a cocoon in order to create a buffer. Then when the boundary of personal space isn’t so rigid, the subject can turn and become more open such as in a setting where they are more comfortable.

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Front elevation Section A

Top elevation

Form finding

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Section B

Section C

Elevation D

CONSIDERATE SKIN There is a correlation between personal space and identification of humanness (Sommer, 1969) where for example during rush hour on trains, passengers treat other passengers as inanimate objects and can then excuse the idea of being too close.

Here I explore the idea of dehumanizing the subject, which protects the subject’s personal space as well as being cautious and respectful towards not invading other people’s personal space. Duhumanization

is done by stripping away the human form and replacing it with an unnaturally shape of a rectangle. The face is also hidden through the use of paneling. Personal space is culturally acquired, and in Japanese culture it is rude to make eyecontact. Therefore another level of caution towards not invading other people’s personal space is to minimize the opportunity to be able to see the eyes as demonstrated in Section B.

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Movement

Form finding

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Front elevation

Side elevations

Detail of Engineering

STRESSED SKIN This dynamic design becomes activated when ones’ personal space is broken, being initiated when the shoulders rise up, and elbows go to the side, which are both common intuitive reactions (Sommer, 1969). The needs for personal space is centered around two different concepts, the first being at resting, non-provoked setting where personal space flexible and non rigid, it can ap-

pear wide to non-existent depending on ones perspective. The second is an intuitive need for personal space in a provoked setting where one’s head is the protected against any physical danger, creating a doming structure.

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1.5 REFLECTION

Construction analysis Time consuming lantern hand drawing

Load reaction analysis Efficiently modeled lantern

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Load reaction analysis opened various paths of further development

Though I am satisfied with the quality of work which I produced, I am critical of the amount of time I spent producing these. The simplicity in form is what made it a pedantic task to produce by hand, resulting in several hours spent creating the isometric drawing alone with each continuous curved dual lines representing the wire spiral structure. This makes me reflect on workman efficiency of physical labor versus digitizing. Later in this document I will argue that physical production can be more efficient than digitizing, though in this case it is a case of digitizing being more productive than by hand. A better quality result could have been produced faster with the use of rhino, simply by drawing 2D geometries and offsetting the curve in order to achieve the dual lines.

The deconstruction of the lantern did not inspire any of my work to be produced. The tension and compression study along various points however was something that interested me a lot, and inspired both form and engineering of my 3 iterations of designs as well as my initial prototype. Initially I felt it was a waste to have done an exploration of the deconstruction of the lantern, but as an afterthought I realized this was still valid. This shows the way design occurs, the analysis was a method to extract various paths of design, and some paths are more fruitful than others.

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2.00 DESIGN A collaboration with: Giselle Osborne, Brendan Chong, Bao Nguyen The lantern form is abstracted into its nature of being a section and profile system as the basic system used for creating the second skin. Through collaborating with other group members and integrating their M1 learning outcomes, various iterations of a shared personal space begin to develop.

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2.10 DESIGN DEVELOPMENT INTRODUCTION SITE ANALYSIS: PERSONAL SPACE The distance of personal space is different depending on the location on the body. We require most personal space around our heads mostly because that is where we are most sensitive; it is where our sense of sight, hearing, and smell is located. Less personal space is required around the rest of our bodies, such as behind our back.

Defining ones personal space is also culturally dependent (Sommer, 1969). An individual who has grown up in a population dense city such as Tokyo will require less personal space. The varying needs for personal space is demonstrated by the behaviour of the placement of arms, where bringing your arms in front of the body will increase ones personal space. The individual on the left defines her personal space to be small relative to the individual on the right. The varying needs for personal space is demonstrated by the behaviour of the placement of arms, where bringing your arms in front of the body will increase ones personal space. Regardless, it is possible for personal space to overlap and become shared.

With interaction, one can invite someone else into their personal space, this overlap becomes their shared personal space.

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PERSONAL SPACE PLAN VIEW

PERSONAL SPACE SECTION VIEW

INTIMATE SPACE

While we need to acknowledge the requirement for some personal space, we want to pursue a project that fosters interpersonal interactions. In doing so, we argue that personal is socially contingent and is therefore something that can be changed. We want to give the individual an opportunity to invite others into their personal space and to co-inhabit it with them. Although our space will indeed be a ‘private space’ - partially veiled from the gaze of others - it will also be a space where intimate interactions can occur.

After defining our brief we began to think about the minimum safe amount of space between two people. When we discussed this we noted that this minimum amount of space is something that is expands depending on context. For instance, if someone sits next to you on a crowded train they are not perceived to violate personal space boundaries, whereas if someone sits next to you on an empty train they may be. Given that only two people can fit within our form, this may not be a lot of space.

INTIMATE SPACE TOP ELEVATION

INTIMATE SPACE SIDE ELEVATION

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2.20 DIGITIZATION + DESIGN PROPOSAL V.1: THE EXTENDABLE SPACE Aided by our analysis of the paper lantern, we began to explore ways a section and profile system could be used to make an object that could expand and contract to hold one or more people. Since the contouring command on Rhino can be used to make complex volumes into buildable section and profile models, we began to experiment with defining different volumes in order to generate interesting contour systems.

The model below is made up of a series of vertical sections which are bound together with string. Ultimately however we realised we were unable to resolve problems regarding the stretching mechanism and strapping the structure to one person for portability.

CONCEPTUAL SKETCH

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ISOMETRIC

RIGHT ELEVATION

BACK ELEVATION

FRONT ELEVATION

ISOMETRIC (SINGLE) PLAN

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2.30 PRECEDENT: THE DROP SERIES Fostering Environment: Intimacy and Privacy

THE DROP SERIES BY OLIVIA DECARIS

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The Drop Series by Olivia Decaris is designed as an adaptable structure to foster intimacy, privacy & concentration. It’s made of wooden ribs with soft ivory fabric stretched over it.

This gives it its flexibility and lightness, making it adaptable to various settings and giving the option to assemble or drop at ones will.

The wood creates an organic, cozy environment, and its simple design along with lighting gives it a robust, human feeling.

Form follows function. Decaris uses different modular forms depending on its use, where a simple circular module is the most social, ovular for quiet concentration, and rectangular for rest.

The precedent will be applied to our design by being made of wood in order to create a warm and intimate environment, and incorporating a cocooning rounded form which is the optimum form for a social space as seen in the drop series.

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2.31 DESIGN PROPOSAL V. 2: THE POD

CONCEPTUAL SKETCH OF THE WARM MOOD OF THE STRUCTURE

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3D MODELING OF NEW DESIGN

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PLAN

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BACK ELEVATION

FRONT ELEVATION LEFT ELEVATION

The structure now is even more circular in form in order to maximize the opportunity of socializing between the two individuals. This is emphasized by having the widest part of the structure being in the center. It is also considerate about entry, so the second person now can enter the structure through a tunnel like hole at the front of the structure.

found at the top of the structure, so that the framework can now slide forwards and backwards. The structure expands when the second individual interacts with the structure and is in control of pulling the framework to spread it out. There is a hole at the top of each frame to thread a string which is used to assemble the structure.

Though the structural engingeering isn’t complete, it is further considered as the structural members are now composed of two rods which are

ISOMETRIC FRONT

ISOMETRIC BACK

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2.32 PROTOTYPE V. 1 + TESTING EFFECTS We prototyped two sets of the design reduced to 4 frames each to test the materiality. We chose two materials in order to test its ability of creating mood and shadows, perspex 2mm and Luan Plywood 2.7mm.

The first is perspex as in the initial design process we had imagined that it would be an interesting effect to have a clear material which you can see through but then being wrapped in string would appear floating, like the immateriality that is our personal space.

In contrast to this, we also protyped the framework in wood after having performed the precedent study.

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PERSPEX FRAMEWORK IN COLOR SPREAD

LUAN PLYWOOD FRAMEWORK IN COLOR

OUT

SPREAD OUT

Reflection:

The perspex being clear was an interesting material to play with because it still generated shadow which is important for making a moody environment.

The wood however did create an organic feeling in contrast to the artificial feel of the perspex. The wood also created starker shadows which is an effect we want to continue playing with.

New Direction:

Though this was a study about materiality, we should now start looking more critically towards structure. We started to reflect upon the fragile nature of trying to create a sound design for structure. We are still left with trying to figure out how the structure will be able to structurally be supported by ones body yet be able to stand rigidly on the ground. On top of this, the structure needs to be able to expand and contract smoothly. These design problems is something we should further consider, and even more so the fact that perhaps we have created these problems for ourselves because we have taken the idea of encapsulating two people’s shared space too literally.

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2.40 DESIGN PROPOSAL V. 3: THE HALVES

We decided to split ths structures, now creating two separate models for two individuals.

Attention was paid to how these two objects might fit together and to the detailing of how they are strapped to the body (see image below).

Beginning to explore the creation of two objects which come together was incredibly productive for us. Up until this point our design process had been limited by the constraint of one object which can expand and contract.

CONCEPTUAL SKETCH DEMONSTRATING INTRUSION

We developed the design to focus more on structure and something that will actually sit on the body.

We also began to think more critically about our design. Up until now our design has been a structure that is open at the front, which allows merely anyone to intrude ones personal space whether they are welcome to or not, as demonstrated in the image above.

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STRUCTURE ON BODY

ISOMETRIC

PLAN

SIDE ELEVATION BACK ELEVATION

FRONT ELEVATION

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2.41 PROTOTYPE V. 2 + TESTING EFFECTS We prototyped the structural part of the design which will sit on the body in order to understand the proportionality of the members relative to the body.

STRUCTURES ON DIFFERENT BODIES

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Reflection:

SIDE ELEVATION OF LOAD PATH DIAGRAM

A failure we found through prototyping is the problem regarding joinery.

Firstly, the vertical members are far too thin in size relative to the horizontal member, as demonstrated in the diagram to the left.

Secondly, the diagram demonstrates the supportive reaction force of the vertical member as the shaded area. Because the area of intersections are so small, the load of the mass of the horizontal members are weakly supported by the reaction force of the vertical member, resulting in easy breakage.

Having tested the structure on different body types we also found that the structure is able to be worn by different body types. This is achieved by having the upside down V-cut opening where the structure sits on the shoulders. The opening can be decreased so that the structure can sit more comfortably on the subject, as seen in the photos to the left.

New Direction:

We will need to develop the design for joinery between the two directional members. This can be done by creating notches in not just one, but both joining members to increase stability.

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2.50 PRECEDENT: C SPACE PAVILION Optical effects / continous form Named after an advanced concrete, Fibre-C, the pavilion was designed by Alan Dempsey and Alvin Huang for the DRL TEN Pavilion design competition. The brief required that they design a pavilion with a continuous form where the floor and furniture are an extension of the roof structure. The boundaries between inside and outside are blurred and the structure has a moire effect created by the angle of the profiles when observed from the outside.

The structure is made out of a series of curved profiles which are jointed with a notching system. Profiles in the x-plane are slightly bent in three dimensions since they are flexed in order to form a tight joint. This particular detail is of interest to our group since we realised during the prototyping process that more attention would have to be paid to joint details in order to create a stable structure.

ARCHITECT’S DIGITIZATION OF C SPACE PAVILION

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PRECEDENT APPLIED TO DESIGN After modelling our first sketch idea in Rhino we realised it was going to be difficult to create a single structure to house one or two people which can be strapped to the body. We also weren’t happy with the form it had taken and realised we were missing opportunities to explore more complex forms with the section and profiling system.

After studying the C-space precedent we were then inspired by a number of things. Firstly , we were interested in the optical effects created by flexing and overlaying the panels. This is especially relevent to our idea of personal space since we want to foster a somewhat private space for two people.

The optical effects also results in motivation for people to inspect the form at a closer proximity which then fuels interaction with the person wearing it, which falls under our idea of maximizing the potential for a stranger to share their personal space with one another. We were also inspired by the form of the pavilion and the way it wraps around to form both enclosure, stucture and furniture. We therefore began exploring more curvilinear profiles that wrap around the body.

CONCEPTUAL SKETCH

SKETCHS OF ROTATED PANELS TO CREATE A MOIRE EFFECT

SKETCH OF A SINGLE SHELL AND EXPERIMENTING WITH DIFFERENT FORMS WRAPPING AROUND THE BODY.

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2.51 DESIGN PROPOSAL V.4: THE INTERACTIVE SPACE

BACK

RIGHT

FRONT

BACK

BACK RIGHT

RIGHT FRONT BACK

PERSON ONE 50 SCALE 1:20

LEFT

FRONT LEFT BACK RIGHT

PLAN

LEFT PLAN RIGHT FRONT

BACK

RIGHT

FRONT

LEFT

PLAN

PERSON TWO SCALE 1:20

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After studying the C-space Pavilion we were inspired to experiment with new curvilinear surfaces. The final design is a result of the creation of two volumes, each representative of the personal space of our characters. In line with our site analysis, the difference relates to differences in cultural background and how we define our personal space depending on the social and physical environment we have grown up in. For example, growing up in a denser urban environment. While acknowledging this difference, we also acknowledge the similarities in conceptions of personal space. Each individuals head is covered since there are particular vulnerabilities located in this part of the body.

The final structures each have their own ambiguities and invite closer inspection. When these characters meet the structures come together to form an intimate space which fosters interaction and invites the curiosity of the other.

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ISOMETRIC

BACK ELEVATION

FRONT ELEVATION

RIGHT ELEVATION

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DIGITAL DESIGN PROCESS

1. Creation of profile

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2. Loft and creation of solid

3.Boolean difference

4.Contour

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By tracing over our site analysis, we created a rough contour with curves. Any pointed corners and edges were either rebuilt or booleaned out, in order to create a workable surface. We lofted the curves and used offset outwards to create the solid Instead. Since extruding a complex surface like this, will result in intersecting surfaces and curves that creates a lot of anamolies (Reduction through refactoring in Scheurer & Ster-

ling 2011). As stated above, the two pieces had to fit into each other in order to create an intimate space. Therefore, the two solids were booleaned out to ensure the pieces fit. To create the sections & profiles, we used contour --> Planarsrf --> extrudesrf for the basic solids. We finished off by booleaning the intersecting profiles and sections to create the joints.

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2.52 PROTOTYPE V. 3 + TESTING EFFECTS

EXPERIMENTING WITH MOIRE EFFECT AND VISUAL PENETRABILITY

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We experimented with card paper and produced two experimentations.

EXPERIMENTATION 1: HONEYCOMB SHAPE TO ACHIEVE FULL PERFORATION

Experimentation 1 and 2 look at different ways of angling intersections. Experimentation 1 takes the form of honeycomb shape while experimentation 2 uses varying angles of intersection.

We learnt from our mistakes in our previous prototype where we struggled with joinery. Structural integrity is found through interlocking the first and second pieces together through a notching system to form a volume occupying solid. Paper cannot span long distances when planar, but becomes quite strong when rotated. Therefore we chose the honeycomb shape.

EXPERIMENTATION 2: ANGLING TO ACHIEVE MOIRE EFFECT

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PERSPECTIVE VIEW OF EXPERIMENTATION 1

This experimentation is intended to allow light into the structure through having sections and profiles intersect in one plane.

By allowing light into the structure, a shadow can be cast to create mood, which helps enable an intimate environment.

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LIGHT THROUGH HONEYCOMB CONTOURING IN EXPERIMENTATION 1

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PERSPECTIVE VIEW OF EXPERIMENTATION 2

This experimentation uses a system of angling the sections along the profiles. This creates a surface that turns from opaque to translucent. The surface is made up of a series of moments of views: 1) Completely shielded view 2) Transition from shielded to penetrable 3) Visually penetrable

The different moments spark interest in the audience, becoming an invitation to inspect closer in order to understand its ambiguous form. This promotes the external audience to interact with the subject.

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LINE OF SIGHT THROUGH EXPERIMENTATION 2 LINE OF SIGHT THROUGH EXPERIMENTATION 2

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2.53 PROTOTYPE V.4 + TESTING EFFECTS

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PERPSECTIVE OF FINAL PROTOTYPE

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Reflection:

BREAKAGE DUE TO NOTCHING

Prototyping the final model was very informative and illustrated several issues with our digital design. The most glaring was the notching system, although we had already anticipated there would be issues with this since we had not spent time inspecting each of the details.

We found that when we pieced the model together, since many of the notches do not cut deep enough into the profiles that they would not stick together. We therefore had to use glue to assemble it. We also found that some notches were too deep, creating weak points along the profile that resulted in some breakage. A further issue is that our profile system is arguable too deep meaning that it is quite heavy. In the next module we will definitely look at changing the digital design in order to create thinner and therefore lighter and more wearable sections and profiles.

New Direction:

We will spend time detailing the individual joints and creating a more light weight structure. We may also look at learning grasshopper in order to refine our notching system further.

We will also pay attention towards the structural engineering to see how to place this on the body.

ISSUE WITH NOTCHING

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2.60 REFLECTION

THE DEMANDING PROCESS OF EXPLORING FOUR DIFFERENT CONCEPTIONS

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The M2 produced a solid concept through the work contributed by the group members from the M1 and various iterations of design that was undertaken in this module. Least to say, the design iterations that were produced in this module were a dramatic journey.

Though there was a flow of sequence in ideas, this cannot be seen obviously.

However, the dramatic change in design that occurred was ultimately good as this strengthened the concept.The ideas of abstraction and reduction are technological but this can be furthered conceptually (Scheurer, 2011, 70). It helped the process of staying critical of the design decisions as the question was reiterated, “Why do we want to change this? What elements cannot be changed? How can the concept be communicated most efficiently?�

The task was demanding but ultimately

nutritious as I was able to practice coming up with a design, prototyping it, deconstructing it, and then coming up with a further developed iteration and abandon. This is useful in architectural practice, as good design does not come from one single iteration, rather it is the outcome of having explored many iterations (Fairley, 2017). While I am thankful of the opportunity to have gone through such a demanding process of producing work and developing designs numerous times in the M2, it would have been better to have had decided on a design at an earlier stage as this impacted the amount of time we had for fabrication and development in the M3, as we continued to develop our design at that stage.

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Sequence of interaction

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3.0 FABRICATION A collaboration with: Giselle Osborne, Brendan Chong, Bao Nguyen A design decision has been made to create two second skins for two individuals. This module will show the final development of these structures in terms of form. It will also go in depth of the nitty gritty processes such as engineering of how the structure is supported by the body and the construction method to create the final prototype.

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3.0 FABRICATION INTRODUCTION After M2 we still had a lot of design work to do. We decided to create two structures very close to the M2 submission time and were therefore unable to resolve a lot of design questions. Our first problem to resolve was better justifying the connection between the two structures. We also received feedback regarding the regularity of our waffle structure. We were asked to experiment with more interesting contours and to pay more attention to density and light in our final forms. As a group we were also concerned with the weight of our MDF prototype.

After M2 the first thing we did was investigate how we could create a smaller and more lightweight structure without reducing the effect we wanted create. This led us to begin lofting more complex curves and to create a structure that wraps around the head and shoulders.

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Design at the end of M2

New lofted surfaces

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3.1 DESIGN DEVELOPMENT & FABRICATION OF PROTOTYPE V2: FACEPLATE

EXTERIOR

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INTERIOR

Prototype One

Prototype Two

While the choice to use card as our material was an economic decision we were surprised by its structural stability. This prototype is intended to test the angles of the horizontal sections.

This prototype tests the effect of having horizontal sections of differing lengths. The intention of this is to see whether it better obscured the views of the person wearing the structure. It achieves this well, better directing the views of the wearer and obscuring views within, creating a heitened moire effect.

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3.3 DESIGN DEVELOPMENT & FABRICATION OF PROTOTYPE V3: SHOULDER PIECES SHOULDER SUPPORT FOR STRUCTURE ONE

ISOMETRIC VIEW STRUCTURAL SUPPORT

SIDE ELEVATION OF STRUCTURE

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SEQUENCE COMPARING TWO ITERATIONS OF PROTOTYPES STRUCTURAL PIECES

SHOULDER SUPPORT We had a simple harness like support, where the structure sits on the harness while being hooked down.

OPTIMISED SHOULDER SUPPORT After the first prototype, we decided on making a support that is less rigid and organic, as well as merging the support into the structure. We kept the original buckle and strap from the first prototype. We also used clear perspex to make it as hidden as possible.

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3.4 FINAL PROTOTYPE DEVELOPMENT & OPTIMISATION

PROTOTYPE ON BODY

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STRUCTURAL ISSUES

Structural weakness There were a lot of limitations to digital design that we could not forsee, such as the structural limitations to our waffle. With the help of the 3rd protype. we were able to better understand structural sections to secondary sections.

Joinery Most of the joineries were booleaned too deep , therefore weakening the structure further. Due to the complex nature of the surface, we could not reposition the sections with a gumball for a shallower boolean.

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3.5 FINAL DIGITAL MODEL

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TOP ELEVATION

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SIDE ELEVATION

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SIDE ELEVATION

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ISOMETRIC VIEW

SIDE ELEVATION WITH FACEPLATE

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3.6 ASSEMBLY DRAWING

STRUCTURE ONE

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STRUCTURE TWO

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After prototyping we attempted to resolve our structural issues by doing some load path diagrams of how the structures would function when force is applied. We worked on two different systems which was ultimately detrimental to our overall design. Both structures contain cantilevered elements which require bracing. We believed the polypropylene waffle structure would distribute these forces however this made our model very difficult to construct. When force was applied to the perspex pieces during construction they snapped under the tensile force.

After M3 we will have to return to design a better bracing system and create another model before M4.

STRUCTURE ONE

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STRUCTURE TWO

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3.7 FABRICATION SEQUENCE

Each perspex piece had to be cleaned and lines with tape.

We produced a strategy of assembly and bracing system with fishing line.

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Joining perspex structural ribs

Bracing the cantilever for construction

Attaching section E to structural support

Attaching sections A and C to structural support

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The contours that were fabricated created a gridded pattern that were too regular in some areas. Our concept is to make a captivating form that will make an onlooker come inspect and promote interaction between two people. This gridded form must be broken in order to create a more interest evoking structure.

A decision was made to modify the structures to make them look more dynamic.

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STRUCTURE PRIOR TO REFINEMENT

Contours were edited upon the structure using physical labor of experimentation with strips of polypropylene.

PROCESS OF EXPERIMENTATION WITH CONTOURS

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3.8 COMPLETED SECOND SKIN

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MOMENT OF INTERACTION

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The end resulted in these dynamic curving forms. This is strengthens the concept as the structures are meant to promote interaction and further inspection, as seen in the precedent of the C-Space Pavilion.

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FINAL LOOK OF THE BLACK STRUCTURE

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FACEPLATE OBSTRUCTING ONE FROM SEEING THE SUBJECTS EYES

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CONTOURS ANGLED TO HIDE THE SUBJECTS FACE

SIDE VIEW MORE TRANSPARENCY AS THERE IS LESS NEED FOR PRIVACY

BACK IS COMPLETELY TRANSPARENT

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3.8 REFLECTION

Joining perspex structural ribs

Time consuming process of reinforcing perspex

PROCESS OF EXPERIMENTATION WITH CONTOURS

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Where previously design has been restricted by what the architect could draw, with digital design and fabrication one has more creativity to create complex geometries and the architect can be closer to the fabrication process (Kolarevic, 2003). Two dimensional fabrication enabled us to prototype multiple scale models during our design process. This was beneficial and allowed us to test hypotheses that we were not able to test using digital design methods.

For instance we fabricated two scale models of our face plate to test the visual effect of increasing the width the profiles. This allowed us to make important design decisions which were informed by actual testing of how the fabricated model behaves.

We did find however that prototyping showed many shortcomings we were unable to predict through digital modelling, in other words shortcomings of the digital design

process itself. This criticizes Kolarevic’s point, as demonstrated for example in the field of material behavior (Kolaravic, 2003). Module 3 was a learning opportunity for fabrication, specifically giving an insight of material performance. Various materials were explored such as card, polypropylene and perspex.

Card was a great material to work with on small prototypes, such as the faceplate.

However it is a restrictive material in that has no give, so as soon as it is confronted by an impact it it is easily damaged. This was seen in the prototyping of the full structure which had a finished result of sagging, as well as burn marks. Polypropylene was a good replacement material to this problem. Perspex was also a restrictive material, while it has the ability of different finishes of translucency, which was a desire for the fabrication of this model, it also came with faults. Prototyping had been done in order to test its materiality, as seen in the shoulder piece structural mechanism.

Here we observed its brittle nature, however

saw that it had structural integrity and thus decided to continue using this material as we had already struggled with the material of MDF being too heavy, as seen in the final module 1 prototype. These faults came at a cost that, in hindsight, came at a cost higher than the result of the benefits. The perspex pieces had to be refabricated multiple times, which was not only a cost directly, but also indirectly as it caused for a lot of time being dedicated to fixing and securing these pieces. A strategy of coating them with a layer of tape was used, however the finish of this was not as clean as was the point of having clear perspex pieces.

Undergoing physical first hand production of editing the contours was much more productive than if it were to be fabricated by digitization in order to interact directly with tension and compressive forces. This is one area where hand production conquers that of digital production, critiquing my discussion in M1.

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4.0 REFLECTION A collaboration with: Giselle Osborne, Brendan Chong, Bao Nguyen A design decision has been made to create two second skins for two individuals. This module will show the final development of these structures in terms of form. It will also go in depth of the nitty gritty processes such as engineering of how the structure is supported by the body and the construction method to create the final prototype.

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DESIGN ITERATION IN M1

FINAL DESIGN M3

PROTO

Experiencing materia to digital fabrication p

PROTOTYPE V4 IN M2 It feels like a long way has come through the journey that has been all the various design iterations, strengthening concept along the way

Digital production demands a level of time management, as seen was lacking here through faulty notching.

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LANTERN ANALYSIS IN M1

It is peculiar that one of the biggest challenges in the fabrication process was to deal with force loads, when this was one of my earliest points of inspiration which inspired aspects of the design.

OTYPE IN M3

al behaviors and its relation was was a large learning point.

Marble takes a critical approach to the meaning of a craft (Marble, 2008, 42), defending the use of digitization to assist in the making of architecture. Digitization is a barrier between the designer architect and the building, where it can be said that the real ‘craft’ makers are those who physically perform the labor of constructing the form.

However, this barrier which disassociates the architect with their building can also be a positive attribute towards the process of design, as the digital world provides a void space where creativity can bloom without

the distractions of real life physical fabrication.

Having now developed experience of fabrication and technology through this subject, I can partially relate to this notion. As experienced in M1, the process of production through the use of pure physical labor of a simple task of creating measured drawings of a lantern, while digitized production would have provided me an opportunity to have created the same, if not better quality of work in less time.

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I am grateful for my experience of this subject.

The reason for this is because it has been a huge challenge. The design process led me to exercise the notion of constantly questioning the design, leading to a strengthened concept.

This subject has taught me lessons. I have been confronted by experience of evaluating the effectiveness of digitization and physical labor. These both have their merits, but one is more effective than the other depending on scenarios, and now I have a library of first hand experience of that in order for me to apply in the future when I continue producing creative work. I have also gained a familiarity with materials, some of which I had never produced models with before, such as MDF, perspex, ply and polypropylene. The design process and strategy is something I have now learned to optimise, the structure of the subject is laid out incredibly well for one to be able to practice the design process from first inspiration to 1:1 model fabrication. This brings me to the final lesson that I have learned through this subject,

which is the importance of time management.

After experiencing working with digital design I can relate to these ideas, as well as contribute some of my own. Time management has always been a struggle for me, as I find that I am good at making plans and have ambition, however the shortcomings always occur as I cannot hold myself accountable to sticking with such time plans, and end up spending too much time on one thing and not enough on another. The simple task of sending a file to the CNC cutter has had a huge impact on my time management skills, and has benefited the way I structure my work, where this semester has been filled with regularly practicing the activity of giving myself a time frame in order to complete a task. The readings have brought light upon the way digital design impacts not only the physical production of something, but also its effect on the designer, the mind, and the philosophy.

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4.0 APPENDIX

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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.

Fairs, M. (2007). [C]Space Pavilion by Alan Dempsey and Alvin Huang | Dezeen. [online] Dezeen. Available at: https://www.dezeen. com/2007/11/04/cspace-pavilion-by-alan-dempsey-and-alvin-huang/ [Accessed 8 Jun. 2017].

Fairs, M. (2009). The Drop Series by Olivia Decaris | Dezeen. [online] Dezeen. Available at: https://www.dezeen.com/2009/06/29/thedrop-series-by-olivia-decaris/ [Accessed 8 Jun. 2017].

Fairley, Alison. “Week 12 Digital Design And Fabrication”. 2017. Presentation.

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.

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.

Scheurer, F. and Stehling, H. _2011_: Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 _4_, July, pp. 70‐79

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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, 2000.

Sommer, R. (1969). Personal space : the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J. : Prentice-Hall, c1969.

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