DIGITAL DESIGN + FABRICATION SM1, 2017 Woven Ivory Mohammad Haziq Hassan
(780615) Amanda Masip + Group 13W
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CONTENTS: 0.0 Introduction
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1.0 Ideation 9 1.1 Object 10 1.2 Object + System Analysis 12 1.3 Object Digital Iteration 14 1.4 Volume 16 1.5 Sketch design proposal 18 2.0 Design 21 2.1 Design development intro 22 2.2 Digitization + Design proposal V.1 24 2.3 Digitization + Design proposal V.2 25 2.4 Precedent research 26 2.5 Further design development 28 2.6 Design proposal V.3 30 2.7 Design proposal V.4 31 2.8 Prototype V.1+ Testing Effects 32 3.0 Fabrication 35 3.1 Fabrication intro 36 3.2 Design development & Fabrication of prototype (Bone) 38 3.3 Design development & Fabrication of prototype (Skin) 40 3.4 Final Prototype development + optimisation 42 3.5 Final Digital model 44 3.6 Fabrication sequence 48 3.7 Assembly Drawing 50 3.8 Completed 2nd Skin 52 4.0 Reflection 56 5.0 Appendix 58
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0.0 INTRODUCTION Brief: Second Skin Second skin as a protection, defence, an insurance against undetectable risks. It suggests the prohibition of physical contact. A volumetric ‘skin’ which explores and responds to the boundary of personal space. A skin which creates an awareness of the presence of personal space. It functions as a shield that shelters the wearer against his environment but not isolating him. These concepts are translated into the design which informs not only the idea of separation but openness and transparency at the same time.
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1.0 IDEATION In this module, we were tasked with different material systems, namely, skin and bones, folds and panels, and sections and profiling. These three systems are to be identified within commonly used and available items around us. We undergone quantitative analysis of the object and deeply anayse its properties and qualities. By relating the outcome of the research with the material systems, we identified potential concepts and ideas to explore and come up with initiah sketch proposals.
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1.1 OBJECT I chose a paper lantern as an object of analysis. The decision of selecting the lantern was driven by my interest in skin and bones. I began the analysis by presuming the shape is a perfect sphere. Basing my analysis on that presumption, naturally, I started measuring and recording the physical properties of the shape. I collected information which is commonly associated with a sphere or circle, such as the radius, diameter and circumference. The lantern takes two forms, an inflated hollow sphere and a dense flat circle. Measuring method: • Taking advantage of the flat form of the lantern, I was able to scan the object. This method is derived from Miralles, 1988, ‘How to lay out a croissant’. • The scanned image can easily be measured using a ruler. • In the expanded form, I sandwiched the object between 2 book stoppers and measure the distance between the stoppers as the diameter.
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The function of these orthographic diagrams is to inform not only the quantitative information (i.e. the dimensions), but also to expose the mechanism and systems involves withing the object such as, the expansion transition, the internal structure, and the components making up the whole object.
Plan 1:4
Elevation 1:4
In the two bottom drawings, I was interested in the transition from flat to volume and the mechanism which hooks the expanded shape in place. Elevation of Assembly 1:4
Section 1:4
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1.2 OBJECT + SYSTEM ANALYSIS The lantern works in conjunction with the metal expander. To maintain the form and shape the tension is subjected to tension by the expander, and the expander is in compression exerted by the lantern. At the same time, a spiralling metal wire is lining the interior of the lantern. In its relaxed form (flat form), the wire has the ability to flatten itself. In tension, it exerts force to the paper and gives form to the lantern. The three components; paper, expander and wire, works in a cohesive manner. Without each element, the lantern will not take form.
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Perhaps, this lantern is the perfect definition of skin and bones material system. Intuitively, we can identify that the paper as the enclosing skin, the wire as the bone which provides the form, and the expander as the secondary bone or structural element which gives structural integrity to the lantern.
In an attempt to divide the lantern in half, in order to observe the internal structure I discovered that the wire is made of one continuous spiralling line. Immediately, it caught my interest and became the notion that I would like to explore.
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1.3 OBJECT DIGITAL ITERATION Perhaps, the process of recreating the object through digital model serves as another level of analysis and as an exercise for digital modelling skills. Through this process, I was able to understand more about the production of the object, where one element (bone) needs to be present prior to the skin. I consider the bone to be a base which provides a working space for the skin.
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Steps: 1) Create ‘Sphere’ > specify diameter. ‘Helix’ > ‘Vertical’ > Align height and diameter of helix with sphere. 2) ’Flowalongsrf’ - helix takes form of the sphere. Scale up the helix to match the height of the sphere. 3) Remove sphere. 4) ‘Pipe’ - converts spiral curve into surfaces. ‘Circle’ - create boundaries for paper wraps at the top & bottom and acts as rails. ‘Conic’ - outlines the shape of the segments of paper wraps. 5) ‘Sweep2’ - creates surfaces using the segments’ outlines and circular rails. 6) Create the expanders using lines > ‘Pipe’ 7) Place expander inside the lantern.
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1.4 VOLUME The notion of continuity discovered in the analysis is translated into the sketch model. Also, it illustrates the process of turning a 1-dimensional plane into a volumetric form. Staying true to the notion, I attempted to create a 3-D object through a single piece of paper. Slits were cut onto the paper to give freedom to stretch, while the uncut sections restrain the extent of expansion. The model works similar to the analysed object, where a structurally sound element is used to hold its form.
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1.5 SKETCH DESIGN PROPOSAL
Proposal 1
Proposal 2
Gravity │ Expansion │ Drape A design which is retractable with ease and only be activated in time of need. A direct translation of concept onto the human body.
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Proposal 3
Shell │ Spiral │ Comfort
Atomic │ Transparent │ Density
The soft curves provide comfortability while the skin float over the body only supported at a few parts. Suggests defensive attribute but also a gesture of openness as the head piece flips up.
Imitates an atom with electrons orbiting around it, providing stability and security. The freehanging skin is dense in important areas. Yet, the transparency does not block visual interaction.
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Danial Yik Ida Ayu Ratna Dwijayanti Rebecca Cai
2.0 DESIGN Following up with M1 sketch design ideas feedback, I continued to focus on the idea of continuity. In this module, we got together in groups and explore design ideas based on the explored design concepts. There is also an advancement of design representation and communication from hand-drawings into more complex 3-D modelling. Initial prototyping also begins in this module.
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2.1 DESIGN DEVELOPMENT INTRODUCTION Different notions of second skin and concepts explored by every member converge together. The concepts include continuity, weaving, fluidity, and the use of grids, Initially, these combinations create a big question mark and leave the members with confusion. We individually carried forward with feedbacks received from M1 and came out with a series of different design ideas. We discussed our arguments and decide on a concept to explore which is weaving. We also challenged ourselves to explore organic shapes to counterbalance the grid-like nature of weaving.
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2.2 DIGITIZATION + DESIGN PROPOSAL V.1 We explored skin and bones as literal human bones and weaving as the skin. The skin is exclusively separated and isolated only in the head section. While the bone structure mainly supports and protects the back of the wearer. It takes the form of human ribs which represents protection, similar to how actual human ribs protect the organs. The ribs vary in length depending on the area of importance. The long ribs protect bigger and more important areas. It is supported at only one point. The minimal number of support and contact area encourage freedom of movement and comfortability.
Detail of weave
Front
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Profile
Isometric
Detail of ribs
2.3 DIGITIZATION + DESIGN PROPOSAL V.2 Another proposal explored through digital modelling in Rhino. The first design proposal was altered by changing the curvature of the spine, where in Version 1, the spine is moulded accourding to the natural curvature of the users back. But we realise that the bone should not cater to only one specific body shape. The spine in Version 2 is geared to curve more outwards instead of inward-facing, creating a shell-like form and structure which communicates the idea of protection and shelter more clearly.
Isometric
Front
Profile
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Fishnet Art Installation, Janet Echelmen, 2016
2.4 PRECEDENT RESEARCH Fishnet Art Installation by Janet Echelmen, a precedent as suggested in the tutorial. In first glance, the art installaton almost look like they are floating unsupported in any way above a river. The free flowing nature of the design combined with lightweight material allows the design to be manipulated by the wind. In further inspection and research, we foun that the art piece is made up of a large number of lengths of strings creatig the seethrough effect. It plays with invisibility and presence. Which can be related back to second skind, although it is invisible, it is definitely present.
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Fishnet Art Installation, Janet Echelmen, 2014
Body Jewellery, Stephanie Bila, unknown date
We came accross pictures that relates to our aim of aesthetics almost, the idea of lines and weavings. Taking the weaving style of the precedents and try to encorporate them into our bone design.
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2.5 FURTHER DESIGN DEVELOPMENT The second skin analysis below is to be incorporated into the design. The focus of the design is to protect the areas that our limited vision cannot reach (i.e. our back). Deriving from this focus of personal space, we decided that the whole area of the back requires the same level of high security. Therefore, we decided that the design should stretch all the way from the head to the back. We also took some time to explore different types of weaving inspires by the precedents. The idea of the weave to have different levels of transparency, different levels or visibility, density, patterns and volume were all explored as shown in the sketch models on the next page.
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2.6 DESIGN PROPOSAL V.3 Inspired by one of the sketch models of weaving technique exploration and the precedents, we applied the technique of shrinking and expansion of the weaving strips’ width. This creates variations in sizes of negative spaces or gaps, thus creating various levels of opacity and transparency through the form of the design. While we kept the bone idea from Version 2 where the bone defines the distance of the second skin. Bigger distance from the body represents more personal space is needed, and vice versa. While the gaps also convey the same message, where smaller gap suggests a closed division between the user and the environment, resulting in less invasion.
Front
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Profile
Isometric
2.7 DESIGN PROPOSAL V.4 This design is using the same bone structure. We have come to a decision that the bone structure design is successful and resolved for most of it, so we decided to have the same design of the bone structure. But the weaving technique is a different attempt. It focuses on the integration of the bone and the skin as one structure, where one cannot be formed without the other. The string and the ribs are weaving through each other. The idea of using strings is inspired by the Fishnet Art Installation. In terms of materiality, it is also more flexible and easier to form different types of shapes.
Front
Profile
Isometric
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Detail of weave Prototype model
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Detail of joint
2.8 PROTOTYPE V.1 + TESTING EFFECTS The process of prototyping was a very challenging process for us because we are dealing with organic shapes which cannot be broken down into geometric shapes and contains curves in multiple directions. The first method we attempted was 3-D printing. The prototype had to be done in parts and on a much smaller scale that we hoped it would be. The results of the printed product were underwhelming considering how much the printing costs. Although it does create a real live illusion of a human bone. We decided that 3-D printing was not the best way of fabrication for this design.
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Danial Yik Ida Ayu Ratna Dwijayanti Rebecca Cai
3.0 FABRICATION This module focuses on the final few steps of the project. Feedback from M2 was that the prototype was not successful due to the reasons mentioned. The first few weeks of M3 was focused on refining the prototype to get a clear understanding and process of fabricating the final product.
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3.0 FABRICATION Taking the feedback from M2 presentation, we had to find new ways to fabricate our design. 3-D printing was unsuccessful. We came up with multiple ways of the fabrication of the design, while at the same time resolve the mechanism such as joint issues. This process involves exploration through model making by using various different materials and techniques by hand. Perhaps this was not the best route to take, especially on this subject, where digital fabrication is the main focus.
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3.2 DESIGN DEVELOPMENT & FABRICATION OF PROTOTYPE (BONE)
Deriving from a reading by Lisa Imawoto on Digital Fabrication, sectioning is one of the discussed topics. Sectioning was avoided in the past because we consider it to be within another material system which is section and profiling. But we came to realise that what we are attempting to do is not a system, but it is a method of fabrication. We sectioned the spine in a vertical manner and the ribs in horizontal. This was thought to be the most effective way as it does not use us too much material and it is able to create the curve of the spine We also thought about the joint method by preparing precut cavity to insert the ribs into. The result was not very interesting in my opinion. It was almost the contour of the design that was produced, which is not the aesthetic that we are aiming for. We added a layer of clay on top of it to create the organic aesthetics. Again it was unsuccessful due to the heaviness and denseness of the product.
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A step up from the previous exploration, using wire mesh to create a hollow bone structure. This was an attempt to reduce the weight of the bone. And to finish with the desired aesthetics, we coated it with an air-drying clay which hardens over time, similar to concrete. The first impression was that it might be the way to do it. In terms of weight, it was not as heavy as the previous prototype, and in terms of aesthetics, it was satisfactory. But we found that after it dries, the clay was brittle and they were severely cracked. The cracks don’t only displease the eyes looking at it, but it weakens the structural component of the bones.
We explored an alternative using rattan. But we explore it using straws. It works by using modules to hold the sticks in place. The third attempt was to change the material entirely. A material that is almost weightless. We settled with high-density styrofoam, which does not weigh heavy but still dense and holds the form properly. The diagrams show the sequence of fabrication the bones.
Although I personally think that it was a good idea, other factors such as time and the availability of the material need to be considered. We did not end up exploring this technique further.
Perhaps, by far this method is the most successful yet.
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3.3 DESIGN DEVELOPMENT & FABRICATION OF PROTOTYPE (SKIN)
Exploration of the weaves was not as challenging as the exploration of the bones because the weave is light materials and may not affect the bone as much. We progressed from orthogonal grid-like weaves into a more curvy and intricate design.
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The process involves mostly the exploration of material. W tested out using wire. The feedback was that it turned out messy and the pattern and its relationship with personal space were not very clear. We settled with string instead.
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3.4 FINAL PROTOTYPE DEVELOPMENT + OPTIMISATION Due to time constraints, we did not end up finishing the final prototype by the end of this module. Instead, we settled with the third prototype that we explored. We optimised the prototype by adding toothpicks as dowels as the joint between the ribs and the spine. To connect it to the body, we utilised a choker necklace and attach it to the model.
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After receiving feedbacks, we continued working on the final product. The only difference is the way they are attached to the body is by using velcro. This way, it does not exert too much force onto the wearer as the choker did. Another comment made during the feedback was, the system was still not well translated into the prototype. We tackled it by weaving over the bones. This creates a more structurally stable product. The weave keeps the bones rigid while the bones keep the weave in place.
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3.5 FINAL DIGITAL MODEL
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3.6 FABRICATION SEQUENCE
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We found a solution of using CNC milling to produce our model. Although the ribs would not come out in whole pieces. We had to split every rib in half and create a milling job file.
The pieces had to be glue and sanded down to crea
Weaving was only done by to people because in is an intricate task. The process took a few hours.
The weaving had to be done on the finis structure to trace and follow the shap gaps.
ed to the respective pairs ate a smooth surface.
shed bone pes of the
The pieces were painted white in order to mimic human bones and finally assembled using glue and dowels.
Finally, the bones and the skins were assembled together.
The weavings need to be taken out of the bones to be dyed black to contrast the white bones.
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3.7 ASSEMBLY DRAWING The assembly drawing was done in Rhino. It shows the different elements found in the model. Unfortunately, we could not find a method to show the integration between the bones and skin clearly.
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3.8 COMPLETED 2ND SKIN
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4.0 REFLECTION Digital Design and Fabrication focuses on the utilisation of the improvements of technology in our design process. The use of digital technology has helped us through many challenges throughout the semester. This includes the design process as well as the fabrication process. I certainly feel that I have developed my digital modelling and Photoshop skill, by practising it throughout the modules. We also get the opportunity to try out some of the machines provided in the MSD Fablab. In terms of the design, I am happy that we came up with these intricate and very complicated design. It was a challenge to digitally model it and fabricate. The only aspect that I would have done differently is to explore model making more by using digital resources instead oh hand-making the. I have realised that it is much less time consuming and energy efficient to do it this way. Overall, I have gained so much from the subject. I do believe that we have created a project which is different than the others’.
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5.0 APPENDIX
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, Ditt Heath, Aage Lund Jensen. New York : Watson-Guptill. Cheng, R. 2008. Inside Rhinoceros 4 / Ron K.C. Cheng. Clifton Park, NY : Thomson/Delmar Learning, c2008. Sommer, R. 1969. Personal space : the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J. : Prentice-Hall, 969.A Scheurer, F. and Stehling, H. _2011_: Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 _4_, July, pp. 70-79 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 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
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