VIRTUAL ENVIRONMENTS M2W4 | DANIEL FORRESTER 640358 | JACINDA ANTONIA 622256 | MITCHELL SU 660192 | SEMESTER 2/2013 | GROUP 11
DESIGN : WEEK FOUR
2.5 INITIAL PROTOTYPING Far Left: Fig. x - Stacked Module Arrangement Prototype. Center Left: Fig. x - Tiled Module Arrangement Prototype. Center Right: Fig. x - Reversed Stacked Module Arrangement Prototype. Far Right: Fig. x - Whole Context Clay Model Prototype.
In the tutorial this week, initial prototyping of the group concept involved manipulating the arrangement and use of a single simple module into a more complex and meaningful arrangement. This resulted in expanding the paper filters and their folded properties all while adapting it to the notions of section and profile. Initially, the modules were just stacked one on top of the others, resulting in a form that resembled the profile of a pine tree. This form proved to be not so flexible and offered little possibilities of expanding it to a larger context. In the next prototype, tiling the modules produced a spherical form that could be folded
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quite easily into a more compact shape. The prototype showed much potential in being extended upon more as the current form factor of it is still much too close to being just a sphere. Potential extensions to this prototype could include more irregular patterning arrangements and introducing varyingly sized modules into the tiles. In the third prototype, different sizes as well as reversed stacking were introduced into the arrangement. This ultimately produced a diamond-esque form that had more complex forms but it too also proved to be inflexible in creating more complex arrangements. For the clay model prototype, this was merely to give a sense of the context and the volume the second skin could potentially occupy. Based on observations, it seems that the concept our group is going after would create a very imposing and heavy appearance. While not undesirable, it has
the potential to become too overpowering and remove the intention of creating an item that focuses on the personal space of the individual, instead drawing all intention to the second skin.
DESIGN : WEEK FOUR 2.5 PROTOTYPE 1 Top Left: Fig. x - Top View. Top Right: Fig. x - Side View). Bottom: Fig. x - Isometric View.
This design looks once again at the idea of tessellating 1 panel to create interesting shapes. This idea goes back to the original inspiration of a spiky shell that can fold in and out. Consisting of 115 panels, the centre spine connects the main shell shield to the body of the design. This spine has 4 large spikes along it extruding ~12 cm back. These spines are designed to protect the back, most vulnerable region of personal space, by scarring off potential threats like a porcupine. Â The back shield consists of 652 panels, half the size of the ones on the main spine. This shield acts as a protective shell to further protect the wearer/ user and give them piece of mind that the most vulnerable part of their personal space is protected.
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DESIGN : WEEK FOUR
2.0 2.5 PROTOTYPE 2 Top: Fig. x - Front View. Bottom Left: Fig. x - Pattern Detail. Bottom Right: Fig. x - Individual Module.
This design builds upon the idea of a snail shell by creating a foldable system that expands into a aspherical shape that covers the whole body with the exception of the legs. The prototype was constructed using newspaper cut into circles and folded into the same shape as in prototype one. However, the difference in the design is in which how the pieces are arranged. Three pieces are arranged initially in what looks like a rose and then joined together with other modules to create a spherical arrangement. This eventually produces a shell that can be folded and compacted into a smaller volume that occupies significantly less space than when it is expanded.
DESIGN : WEEK FOUR
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2.6 DESIGN PRECEDENTS
This has been further extended by making the shell more practical wherein it is a collapsable structure. The shell addresses personal space by creating an individual space from everything else when the bag is unfolded. These design precedents both in fashion and in nature have led to the culmination of a concept under the materials system of panel and folded, along with section and profile.
The design precedents for this concept is not only represented in experimental fashion concepts but also within the way evolution has progressed in nature. This begins with how organisms have evolved to have shells that are not only a means of protection, but also a mobile ‘home’ for all intents and purposes. The snail has a generally very smooth and soft body that is exceedingly fragile. As a result of this, evolutionary adaptations have caused the snail to develop a shell that prevents them from drying out and also serves as an exoskeleton.
Fig. x - Geometric Paper Dress (Hrustic 2010)
In the photo above, a dress using a geometric pattern has been constructed from thick paper. By changing the geometry on an individual basis, it’s possible to create a curved form from rigid shapes. The paper in this instance takes form of a shell - a protective layer like with a shell.
Fig. x Snail in Idle Position (No Name, N.D.)
When threatened or in hibernation, a snail will retreat back into its shell as a response to its personal space being invaded. This leads onto how this idea of a mobile shelter is applied in fashion. As talked about earlier, the use of paper in origami for its modular properties and sharp, crisp qualities have also been explored considerably. This ties in well with the material systems of panel and fold as well as section and profile - both of which are being explored in the concept.
Fig. x - Foldable Paper Shell (Veasyble 2010)
The concept entails creating a second skin that encapsulates the user and separates them from the existing space by forming new boundaries that outline a more intimate and personal space. By adding a foldable or dynamic element, the second skin is then made more responsive to the needs of the wearer.
DESIGN : WEEK FOUR 2.8 SHANGHAI EXPO UK PAVILION Fig. X - UK Pavilion (Xia 2010).
The UK Pavilion at the Shanghai Expo in 2010 was designed by Thomas Heatherwick and used design to manipulate light and movement to create an organic and humanistic effect to how the building presents itself. The structure of the UK Pavilion appears to be a cuboid form with numerous stick protruding from the surface. Within it, the sticks protrude inside as well and play a key role in the overall design of the building. The human mind has an affinity to the effects put to play by light. The temperature, or color along with the patterns and intensity of light have an adverse affect on human behavior. These changes occur due to alterations of biochemical processes within the body. This can be the difference between an active and tired mind (Siemens, 2013). Heatherwick has played this to the UK Pavilion’s advantage by creating an interplay of light that integrates with the surrounding area of the pavilion. This creates dynamic lighting conditions that portray a continuous and seamless link to the environment outside while still maintaining a sense of territory. This is done by using acrylic rods that suspend seeds in the center that act as giant optical fiber lines that transmit light into the structure. The light portrayed inside is completely dependent on the weather conditions outside and the time of the day as well. Weather such as a cloudy day would be represented in a nuanced pattern inside by virtue of this lighting effect.
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DESIGN : WEEK FOUR
2.0 The second key effect to the UK Pavilion’s design is the use of movement to create a sense of the organic traits of the structure. Each of the rods on the structure are not in a fixed position and can be influenced strongly by weather patterns. When the exterior conditions are windy, the rods will quiver ever so slightly, with the intensity of the movement depending largely on how strong the force of the wind is. This responsive method of designing the building lends itself an organic appearance to what is otherwise a very stark and artificial structure. Top Left: Fig. x - Interior Fixture Detail (Xia 2010). Top Right: Fig. x - Exterior Fixture Detail (Xia 2010). Bottom: Fig. x - Interior of UK Pavilion (Xia 2010).
DESIGN : REFERENCES
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Hrustic. Amile. 2010. Platonic Geometry. Image. Accessed August 27 2013. http://www.likecool.com/Style/Design/Wearable%20geometry/Wearablegeometry_2.jpg No Name. N.D. Untitled. Image. Accessed August 27 2013. http://www.vanderlee.com/plugins/filteroptix/speeding_snail_-_before.jpg Siemens. 2013. Light Has an Impact on Human Well-Being. Accessed August 27 2013. http://www.healthcare.siemens.com/accessories-oem-equipment/ lighting-solutions/lighting-psychology/light Veasyble. 2010. Untitled. Image. Accessed August 27 2013. http://media.treehugger.com/assets/images/2011/10/veasyble-vert.jpg Xia, Charlie. 2010. UK Pavilion. Image. Accessed August 27 2013. http://www.flickr.com/photos/49747573@N05/4585150911/ Xia, Charlie. 2010. UK Pavilion. Image. Accessed August 27 2013. http://www.flickr.com/photos/49747573@N05/4585974508/ Xia, Charlie. 2010. UK Pavilion. Image. Accessed August 27 2013. http://www.flickr.com/photos/49747573@N05/4585240257/ Xia, Charlie. 2010. UK Pavilion. Image. Accessed August 27 2013. http://www.flickr.com/photos/49747573@N05/4585791050/