ddf m4

DIGITAL DESIGN + FABRICATION SM1, 2015 PANEL+FOLD

NAOMI JEMIMA NG 699616 Michelle James

1

2

3

/

4

/CONTENTS 1.0/ IDEATION 1.1 Object: 1.2 Object + System Analysis 1.2 Volume 1.3 Sketch design proposal:

9 10,12 11 13 14-15

1.4 reflection

16

2.0/ DESIGN

17

2.1 Design development intro

18

2.2 Digitization + Design proposal v.1

19

2.3 Precedent research:

20

2.4 Design proposal v.2

21

2.5 Prototype v.1

22

2.6 Prototype v.2 + Testing Effects: 2.7 reflection

23-25 26

3.0/ FABRICATION

27

3.1 Fabrication intro

28

3.2 Design development & Fabrication of

29

prototype v.3 3.3 Design development & Fabrication of

30-35

prototype v3: 3.4 Final Prototype development + optimisation

30-35

3.5 Final Digital model

36-37

3.6 Fabrication sequence

38-39

3.7 Assembly Drawing

40-41

3.8 Completed 2nd Skin:

42-43

3.9 Reflection

4.0/ REFLECTION.

44

45

5

6

0.0 Introduction The second skin lives. It moves. It reacts.

Responding to the notion of Personal Space, Our second skin acts as a defense mechanism against extreme emotions of discomfort, violation and attack. Under the relaxed state, it falls effortlessly, harmonizing with surrounding people and its environment. But when disturbed, it expands.

7

8

1.0 IDEATION

9

1.1 OBJECT

380mm

240mm

MEASURING METHODOLOGY The pineapple is photographed on a flat plane, perpendicular to floor level before traced to accurately depict the object.

Dimensions are then measured using a tape measure to the real object and projected to the traced drawing.

140mm

SECTION

PLAN

The section is extracted by phyically cutting through the pineapple.

10

1.2 ANALYSIS

Pineapple buds create a threedimentional hexigonial pattern when aligned, with a flap attached to the bottom. They grow spirally upwards.

SINGULAR LEAF DETAILS

20m

m

140mm

25m

m

Each leaf resemples a elongated triangle with brush-like fibres.

SHOOT DETAILS

Similar to pineapple buds, leef shoots also grow upwards in a spiralling motion. Covering shoots are shorter whereas shoots that are covered are greater in length.

PATTERN DETAILS

11

1.1 OBJECT DETAILS Module and leaf shoot details are shown, showing the natural spiralling pattern of the pineapple. The flaps for each module are also evident.

TOP VIEW

ELEVATION

12

BOTTOM VIEW

1.2 VOLUME RECONFIGURED MODEL MAKING PROCESS using card and tape, I recreated modules that resembled the structure and composition of the pineapple.

RECONFIGURED MODEL I created a ‘3 dimentional fabric’ that experiments with the notion of negative space, pattern, framing, density, size and layering from this model, showing a gradual transformation from planar surface to a modular one by connecting separate pieces together.

13

1.3 SKETCH DESIGN PROPOSALS Proposal #1: layered, expanding from dense to light sleeves.

The garment is layered with modules that exponentially increase in size. Once the user holds up their arms, the layers spike outwards, acting as a sense of attack when personal space is invaded.

Each module advances from a plane > semi-solid/ frame > hollow skeletal frames, showing the decreasing acceptance and comfort as you are heading closer towards the user. The back however, plays with negative space by being indented and hollow. This presents a sense of vulnerability instead.

indented back provokes a sense of vulnerability.

sleeves grow exponentially in length, also becomes less dense.

14

PROPOSAL #2: EXPANDABLE MODULAR SLEEVE

This sleeve is collapsable when the user is within a comfortable zone or with someone close. However, it could expand according to the level of ease as personal space is invaded. When the user feels under attack, the sleeve could fully expand to act as a defense.

section showing the veiling of facial features.

Each layer is rotatble, where density could be chosen.

Proposal #3 Rotatable and ‘blossoming’. layered head This head garment utilizes a rotatable layered system that covers facial features, particularly the eyes which significantly contribute to visual senses; creating a sense of seclusion when blocked and exposure when unblocked.

Hence, with a rotatble plane, the user could choose to cover, uncover or semicover their features accoring to their desire for personal space.

each module is foldable

sleeve could expand when personal space is invaded.

Planes could semi-open by a ‘blossoming’ system where flaps open in a manner similar to flower petals.

blossoming elements are activated as the bottom layer extrudes out, causing the flaps to flip outward.

15

M1 REFLECTION As my object, the pineapple, is a natural matter, it was interesting how although the ‘perfect’ pineapple would follow a simple mathematical model that results in an organic spiral, uncontrollable variables such as weather, climate and source of origin can significantly influence its form, creating unique imperfections, enlarging diversity of shapes and patterns of pineapples. This can significantly alter our perceptions and interpretation of the mechanical system embedded within the object.

As one solid mass, a large advantage of the pineapple is its ability to cut through directly. Although it is composed of various components (leaves and pineapple buds) its organic form is merged into one subject and not mechanically joined by secondary elements found in man-made objects. However, this also poses as a limitation, as it cannot be disassembled and joints cannot be separately analyzed.

Ultimately, M1 was a solid starting point that enabled me to understand and analyse the object in detail, looking through the surface and attempting to identify a mathematical formula in which the object loosely follows. Although the pineapple is organic and natural, it still follows a modular composition, arrayed in a spiralling motion.

16

2.0 DESIGN NAOMI JEMIMA NG SAMUEL COLEMAN

17

Theory of Defence Mechanisms, Sigmund Freud

2.1 DESIGN DEVELOPMENT INTRODUCTION WHAT IS ‘PERSONAL SPACE’ TO US? Design proposals #1 & #2 are more concerned with the notion of defense whereas proposal #3 considered concealing as the main theory. Ultimately, we decided to take forward proposal #1, as the gradation and tessellation of modules had stronger connections between both reconfigured models amongst our group. We decided to push forward the idea by incorporating our discoveries from our reconfigured models and modifying the initial design as required. However, our interpretation to ‘Personal space’ needs to first be defined in order to explore ways in which we can express this theme.

20

32

DEFENSE MECHANISM When ego is threatened, vulnerable, or disturbed, a maladaptive coping skill will be undertaken. When amygdala is activated, the brain controls the central nervous system to increase chances of survival, whether threat is real or imagined.

70

35

40

17

31

21

35

14

17

13

4

According to Freud’s theory of defence mechanism, Our design focuses on the primitive psychological defense mechanism of ‘acting out’, where physical reaction is carried out to express extreme emotions of discomfort.

20

16

20

28

33

Analyzing movement of arms, with measured angles and distances in relation to the torso.

30

According to personal measurements, we are generally the distances of comfort space according to Naomi Ng. Measured by measuring tape.

18

more sensitive from the head to the shoulders, particularly around the eye level.

Taking the same defensive system found in Tetraodontidae fishes and porcupines, the state of defense can also act as a threatening statement to other’s personal space, clearly distincting their own boundaries, preventing others from invasion.

State of comfort

Having analyzed our spatial boundaries of ‘personal space’.

We discovered that shoulders and arms are relatively senstive to invasion, also often used as an act of expression, including: discomfort (budging) confidence act as threat (appearing large)

2.2 DIGITISATION + DESIGN PROPOSAL V.1 Perspectives of our design using digital modelling software Rhinoceros 3D.

FRONT VIEW

BACK VIEW

PERSPECTIVE VIEW

SIDE VIEW

TOP VIEW

19

2.3 PRECEDENT RESEARCH Huyghe + Le Corbusier Puppet Theatre by MOS

UNIFORM MODULAR ‘HARD SOFTNESS’ INDENTATION Description of precedent The Le Corbusier Puppet Theatre by MOS utilizes uniform panelling methods to create a sense of softness whilst using hard plastic materials. Its uniform and modular panels are print and cut from two dimentional forms and joined to create a very dynamic volume. The theatre mainly plays with two juxtapositions: between concave and convex panels in the ceiling, and the moss and living exterior versus the smooth reflective interior. The differing panels not only acts as visual stimulation, but also as a strong textural composition.

BACK

How can you use this precedent to influence your design ?

Backside of design may implement indented elements from the Puppet Theatre, experimenting with negative space by creating a hollow volume to represent the vulerability from a person’s back as personal space is invaded. Hexagonal (and occasionally pentagonal) panelling around the shoulders will refer to the research’s fabric like quality by joining uniform modules together.

20

Fabric like quality through panelling modular triangles.

2.4 DESIGN PROPOSAL V.2

FEATURE #1: TRANSFORMATION FROM SOLID TO FRAME each layer contains a different level of hollowness, from the fully dense and solid plating around the neck/shoulders, to semi hollow shards along the biceps and down to the wrists, to ultimately fully hollow skeletal frames around the hand. In this model, 4 levels of transparency (above) is used to denote the sense of comfort around a person. For example. a person would be more comfortable when the other subject is further away, but tensed up when it enters intimate boundaries.

1)Neck Shards

FEATURE #3: CHANGE IN DEPTH

2)Shoulder Fabricaiton

To implement our combined idea of volume and depth, each spike is elongated as it is further away from the body. This is to emphasize the sense of lightness in which air could freely move through. This provokes a sense of carefreeness which juxtaposes the small dense pieces on top.

4)Frames

5)Lifting Shards

FEATURE #2: FLAT TIP we considered the ease of assembly for our design, affecting the form of our design. Considering that each spike could be pinned, we derived to a solution that a flat end would provide more suface to connect with another layer than a pointed end. A flat end also enables potential for hindge controlled mechanisms.

21

2.5 PROTOTYPE V.1

2.5.2 THE LIFTING SHARDS

2.5.1 THE BLOOMING SHARDS Rather than focusing on the full mechanical form of the lifting shards, this prototype emphasizes each singular module with an opening valve that blossoms out from each module when user’s personal space is invaded. Again utilizing the pulley system, strings are pulled downward as the shard bloosems upwards. we are considering to implement only a few of these spiking shards in the design.

FRONT VIEW: LIFTED

Our first prototypes mainly explore the ergonomics and function of our design. Utilizing a pulley mechanical system, we tried to ‘lift’ the hexagonal shards with a string pulling towards the same direction of the lift. The orientation of the pulling string to be reversed by crossing over a wooden bar.

SILHOUETTE: LIFTING PROCESS

FRONT VIEW: RELAXED

TO KEEP *mechanical pulley system *core coomes up as string is pulled down TO KEEP TO IMPROVE *change flaps to resemble valve *experiment with core: smooth or flat? *strings: lighter and less friction *frame: lighter and adapts to arm

*mechanism and the way shards are lifted *rigidity of timber frame- to sustain pulley force *lightness and flexibility of shards TO IMPROVE

FIG.1 SPIKE HIDDEN

*timber frame- needs to be lighter and adapts to arm *strings- thinner and smoother to reduce friction

22

*paper matieral- needs to be more rigid

FIG.3 string not pulled down FIG.4 string pulled down

2.6 PROTOTYPE V.2

2.6.1- Frame These prototypes mainily experiment with material suitability for the design. They are laser cut from a digital Rhino Template.

1

STEEL

found object with treated finish PROS pliable to arm’s form rigid &sturdy CONS ready-made dimension limitation heavy

2

3

PLYWOOD 4.0mm

BOXBOARD 3.0mm

PROS *strong *rigid *no adhesives required CONS *low resistance to shear force *layers wear out through time

PROS *lightweight CONS *frajgile *brittle *requires adhesives SUITABILITY: 2/5

4

MDF 3.0mm

PROS *strong *rigid locking joints *no adhesives required *cost effective CONS *a little weight

5

PERSPEX CLEAR 3.0mm PROS *transparency *multiple colours available CONS *loose joints *pieces easily slide off *expernsive

SUITABILITY: 4.5/5

SUITABILITY: 4/5

SUITABILITY: 1/5

suitability: 3.5/5 SOLID SURFACE HOLLOW SURFACE

2.6.2- LIFTING SHARDS: Having realized that paper was too soft and flimsy for this project, thicker materials were used to increase strength, especially for longer, hollow shards.

1 300 GSM CARD PAPER PROS *lightweight *rigid *easy to cut CONS *little soft

SUITABILITY: 4/5

1.0MM BOXBOARD

PROS *rigid CONS *heavy *difficult to stick *layers wear out *thickness affects form SUITABILITY: 1/5

300 GSM CARD PAPER

PROS *lightweight *rigid *easy to cut CONS *a little soft for hollow surface SUITABILITY: 3/5

PLASTIC SHEET 0.5MM CARD PROS *rigid for thickness *easy to cut CONS *difficult to stick

SUITABILITY: 4.5/5

PROS *transparent *can play w/ light *rigid *various finishes availble (e.g. matte, gloss, translucent, transparent) CONS *difficult to cut *difficult to stick *heavy SUITABILITY: 4/5

23

2.6 PROTOTYPE V.2 2.6.3- BLOOMING SHARDS INITIAL IDEA: illustrations below show the progression of ideas of the blooming shards. The design was initially uncovered and attatched with a string. This made the core stuck inside when diameter is too small.

REVISED IDEA: Rubber band is added to increase elasticity and restrict movement.

Flaps are also covered in a similar manner to a valve to increase visual impact.

2.6.4- LIFTING SHARDS PLASTIC SHEET *transparent

BOXBOARD 0.5mm

*can play w/ light

PROS

*smooth surface assists mechanism

*easy to cut

*various finishes availble (e.g. matte, gloss, translucent, transparent)

CONS

CONS

*coarse surface, difficult to pulley up

*difficult to cut

*lightweight *Opaque, covering light

*difficult to stick *full view of mechanism SUITABILITY: 4/5

24

INITIAL DESIGN: Made with paper. Freeform (no template) and all solid surfaces. bonded with tape on the exterior. It was visually unorganized and flimsy.

SUITABILITY: 2/5

1ST REVISION: Tepmlate established and tabs were implemented on one side and glued onto another. However, this method required adhesives and creates gaps when glued badly.

2ND REVISION: Rigid materials used to increase strength. Tabs were implemented on both sides, one with a slit and another with a lock (left). Enabled sides to be securely locked

2.6 TESTING EFFECTSS BLOOMING SHARDS BOXBOARD LIGHT EFFECTS The opacity of the boxboard causes the shard to remain dark until it blooms. Once this has occurred, the light runs from inside the construction along the point, creating an effect that adds weight to the now emerged spike. Light will hence emphasise the transition between the two states in our final project if boxboard is used.

PLASTIC SHEETS LIGHT EFFECTS The light flowing through the blooming shard causes stimulating effects, this plastic becomes far lighter from the introduction of light to the design. A problem occurs with the fact that the transparency of the plastic serves to hide the motion of the spike, despite illustrating the mechanism underneath.

LIFTING SHARDS 1) solid surface The bulk of the solid surfaces causes a dense effect as the light passes over this section. The upper section of the design using these lifting shards would thus be more protected and secure around the vulnerable neck and head areas.

2) hollow surface- opaque materials An intermediary stage between fully transparent and opaque, the cut out sections allow light to pass through and lends a skeletal quality to the overall shard.

3) hollow surface- pastic sheet Using cut out sections in a transparent shard, light is allowed to pass through almost unhindered, although distorted overall. This corresponds to a light airy feeling on the longest shards, emphasising the difference between these and the solid smaller pieces.

25

M2 REFLECTION Our ideas and designs are developed into 3D digital models with the assistance of CAD, creating complex developable surfaces that create new dimensions and possibilities not possible until recent decades. Although CAD is not infinitely precise, it is certainly more accurate than labour intensive methods, providing efficiency and reducing time not only to our second skin but also to production/manufacturing sectors.

Seeing models as an ‘abstraction of reality’ further aided our model making process, as we were able to see how models can make use of spatial parameters to emphasize the psychological notion of ‘acting out’. This resulted in a functioning prototype that corresponds to physical movements. Shards will lift up as the arms ‘act out’ in cases of discomfort, or when personal space is invaded. Prototyping further enabled us to foresee the suitability of various materials and how mechanical systems (in our case a pulley system) would work at a specific part of our design. However, since we merely created functional prototypes, it also acted as a limitation; we were not able to foresee issues of the overall assembly of the design until the 1:1 prototype was made.

This led to complications during the final construction of the second skin.

26

3.0 FABRICATION NAOMI JEMIMA NG SAMUEL COLEMAN

27

3.1 INTRODUCTION Through producing 2 versions of prototypes, function and materiality were analysed and selected accordingly for each component (MDF for frame, 300gsm Ivory card and Polypropylene for lifting/blooming shards).

However, while these components function accordingly as separate parts, assembly method would need to be considered in order to create an overall effective and cohesive result.

Although our second skin acts as a defence mechanism, we strive to achieve a gradual expanding effect (as opposed to a sharp and dramatic effect) in order to show the transformation from a relaxed state to a state of discomfort. Hence, choreography and movement would also need to be carefully planned in order to attain desired effects.

28

3.2 DESIGN DEVELOPMENT AND FABRICATION OF PROTOTYPE V.3 back perspective

UPDATED DIGITAL MODEL: FRAME plan: arms down

Frame detail

plan: arms up perspective

side elevation: arms down side elevation: arms up

29

3.2 DESIGN DEVELOPMENT & FABRICATION & OPTIMIZATION OF PROTOTYPE V3 Both the back frame and the arm frames are joined through slotting, created through the boolean split command on Rhinoceros 3D. profiling techniques were also employed, providing a fitting and rigid skeletal structure for the organic form of the human body to hold all components together.

The Frames form an important component for the back and arms, made to hold together all the lifting shards, tessellating back and shoulders.

30

As tested from the previous prototypes, We selected MDF as it has good strength to weight value, cost effective and resists to shear forces, an important consideration for our design as movement is often required.

To efficiently and accurately fabricate the model, the laser cutter was used. Each piece was labelled and notched to ease assembling process.

The shoulder tesselations acts as the bond and support between the frames and the body. It overhangs the shoulder and hence needs to be strong. Bloom-

To really create a dense and clustered effect up the shoulders, each module will have a mere 2cm on each side. The rim of the tessellation would ideally be patched with triangular planes to create a clean finish.

As the joints need to be strong in order to hold the form of the design, we have considered two joining methods: a glued central tab or interlocked tabs. Eventually, we attached each with interlocked tab to increase strength and decrease gaps, emphasizing density of clusters.

The material has to be strong to hold down the weight of frames, but also needs to be flexible to adapt to the curvilinear form of the shoulder. Hence, we decided to use a relatively thick 300GSM card for its lightweight and flexible properties.

While templates used are identical to that of the back tessellations, they are all convex (as opposed to indented for back tessellations) and sits above an underlayer of a card made sleeve. This is to reinforce the shoulder structure, compensating for the relatively weak materiality of card.

The sleeves were made with card, using a cutting pattern of a coat.

31

3.2 DESIGN DEVELOPMENT & FABRICATION & OPTIMIZATION OF PROTOTYPE V3

Materiality

design optimization

COMPONENTS & JOINTS

design optimization

FOR FABRICATION

long tabs

Stoppers

to maximize leverage of these shards, a transparent fishing wire would be used. The shards are secured by extending the tabs so it may wrap around the frame. Stoppers may be preferable to prevent shards from moving in horizontal direction.

Measured diagram of proportions regarding each length and type of lifting shard. There are 4 types that increase in length.

32

Having tested materiality in our previous prototype in M2, we decided to use 300 GSM card for all shards excluding the longest and most hollow shards, which utilize a more rigid and strong Polypropylene.

However, though transparency generates illuminating light effects, we used white to match the other components.

Both card and plastic lifting shards are laser cut for precision. some sides are etched to hold the pieces to the sheet of card, while hollow holes are cut and removed.

CAD significantly assisted our production process, creating desired equilateral templates.

However, due to unconsidered thickness of tabs, shards began to warp . This poses as a limitation of utilizing computer modelling.

In order to represent the vulnerabiliy of the back, tessellations would be both concave and conved. We came up with two patterns for height variation: 1) The tallest and most prominent pieces in the center and gradually decreasing in height near the shoulders.

2) Indented pieces in the center and taller pieces near the shoulder, causing a smooth shift from the shortest of the lifting shards.

Blooming shards will also be incorporated amongst the mid-tall range of tessellations.

Ultimately, we decided to settle for the second pattern in order to create a gradual and smooth connection between the back and the shoulders. It further emphasizes the notion of vulnerability as indented panels are clustered in the center.

Tall tessellations [5cm] med tessellations [2-4.9cm] short/flat tessellations [0-1.9cm]

Though joined in a similar manner as shoulder tessellation using tabs and tape, the composition is relatively different. As the back incorporates indented elements, same modules will be used, but only stuck together by flipping the modules over.

33

3.3 DESIGN DEVELOPMENT & FABRICATION & OPTIMIZATION OF PROTOTYPE V3

HOW IT WORKS pulley mechanism

Using a fishing wire, the transparent yet smooth string is installed to enable movement for shards, to give ‘life’ to our second skin.

1

initial model: depending if they are to the left or to the right, strings go up and horizontally to the middle columns to separate bundles. (resting 90 lifted 180. need to lift 90.)

Revised final prototype: Strings are wrapped over one row above lifting shards to increase mechanical advantage and leverage. (resting 135 lifted 180. need to lift 45

2

depending where they come over, the wires run down to join a single main string. There are two main strings on each arm, one at the front and one at the back. This makes for main strings in total.

34

3

with 3 blooming shards on each side of the shoulder, one joins to the back main string and two joins to the back main string.

4

All strings eventually join the frame at the back, where indents are made to prevent strings from sliding

3.4 FINAL PROTOTYPE V3 Images showing V.3 Prototype.

Features to modify/improve: • Add more lifting shards • More than one lightsource. Install one around shoulder area as well • More secure joints to prevent shards from detaching under large movements • More secure joint from shoulders to arms and back by using card instead of relying on tape.

• Increase lifting/expanding effect by altering pulley mechanism.

• Spray frame and tabs of shards black with matte finish.

35

3.5 FINAL DIGITAL MODEL

Plan: arms down

Plan: arms up

side elevation: arms down Side elevation: arms up

36

detail: arms up

Back elevation: arms up

detail: perspective

detail: back

Back elevation: arms down front elevation: arms down

Front elevation: arms up

37

3.6 FABRICATION SEQUENCE

2

extracted pieces were notched and assembled. shards further used adhesives. frame notches were filed.

3

after all components are separately created, the 2nd skin will be assembled into two main pieces: left arm attached to back frame and right arm. this is to enable the ‘fitting’ peice to be slotted on during dressing process.

PROTOTYPE V.4 (POST M3)

1

Digital templates are created using CAM and laser cut for all shards (Ivory Card) and frames (MDF).

38

5

the back tesselated pieces were attached to the back frames (that is only attatched to left arm).

6

More lifting shards and shoulder panels are cut (using card cutter to prevent burnt marks) and added to increase volume.

7

Frame and tabs are spray painted black. strings are only attatched once all components are assembled together.

8

two sho wra

Spray-painting the frame black and implementing more shards and lights, resulted in a cleaner, more refined finish.

4

lifting shards were first attached to frames with adhesives and shoulder tescellations were added panel by panel.

wo lights are installed on each arm, one near oulders and one near upper arm. they are rapped onto back of frame using elastic band.

9

after constant testsing, evaluating and refining, the 2nd skin is complete.

39

3.7 ASSEMBLY DRAWING

ASSEMBLY COMPONENTS 1) Frames

a) Back frame

b) arm frame 2) Shoulder tessellation 3) Lifting Shards 4) Back tessellation

4

1a

2

1b

3

40

4

1a

1b 2 1b 3

3

41

3.8 COMPLETED SECOND SKIN 42

43

M3 REFLECTION Having used CAD to assist our design process, our second skin proceeded into CAM processes, transforming digital designs into physical, highly curvilinear models. Our design focuses mainly on subtractive fabrication, utilizing techniques such as laser cutting and contouring. Surfaces created from subtractive enable us to form developable surfaces that create extremely curvilinear surfaces through triangulation and tessellation, such as the lifting and blooming shards. Frames, on the other hand utilizes sectioning and contouring techniques to create skeletal ribs that are tailored to fit the form of the human body. utilizing laser cutters increased efficiency, reduced production time and provided accurate and clean finishes to assist composition and assembly, particularly as our design heavily relies on notching and slitting joints.

However, two directional laser cutters limited the way in which pieces were assembled.

Pieces could only be notched at perpendicular angles, but our frame (produced by contouring techniques profiling techniques) intersects in various angles. Ultimately, unfitting notches were eventually filed in order to be slit on perfectly. Access to 4-5 directional laser cutters would enable much more efficient and accurate notches, easing production assembly.

Without cost and availability constraints, new materials could also be implemented to our design. If Smart materials were incorporated, our design could more closely respond to personal space by having lifting shards rising up under biological change in temperature as user may change in levels of comfort. This can eliminate the need for physical movement and alter our focus into a more psychological response to the notion of personal space.

The introduction of CAD, CAM, CAE and CNC significantly altered traditional approaches to design processes over the decades. Instead of relying on convergent thinking (solution based), digital fabrication created wider scopes for divergent thinking. This ultimately encourages design processes such as design for manufacture and design for diss/assembly.

44

4.0 REFLECTION Digital Design and Fabrication served as a solid introduction to fabrication processes, making the transformation process from complex and mathematical digital models/concepts into physical structures within spatial parameters possible and accessible. The course largely remolded my approaches to designing. While the project is arguably still solution-based, the designing process is stressed upon, and instead of striving to search for ways to achieve desired solution, the solution adapts and becomes flexible according to the limitations and scopes of digital fabrication.

However, Digital Fabrication posed many challenges. As high accuracy and precision is the beauty of digital fabrication, it provides large scope, but also requires great attention to detail, particularly among joints. Joints need to be intelligently incorporated as part of the design, which was at some instances difficult to hide. Accuracy of digital fabrication caused us to be inclined towards using own material as joint instead of relying on a separate element. Furthermore, while CAM created close to perfect components, assembly process was still labour intensive, increasing risk of inaccuracy and malfunctions.

Although our project faced various challenges, finding solutions also elevated our understanding to digital fabrication concepts.

1) Initially wanted to elevate all lifting shards to maximize expanding effect but complicated pulley system strings would easily tangle and system would not work. Hence, only the bottom two rows were connected, where overlapping layers on top would automatically lift up without needing exclusive connections.

2) Originally wrapped string directly behind lifting shard to frame, approximately 90 at resting state and 180 at lifted state. However it required too much force and failed to lift. Eventually, we discovered that wrapping them on the higher row of frame (approx. 135 at rest and 180 at lift) enables higher mechanical advantage and makes lifting the shards much easier.

Many improvements could be carried out in our design.Instead of using visually unsightly joints like adhesives/tape, perhaps all shards could be slit and locked (not just for polypropylene lifting shards). While slitting was effecting in terms of maintaining form, polypropylene lifting shards warped slightly. To prevent this, dimensions and certain angles of templates should be slightly reduced to consider thickness of material. Without time constraints, installing rubber tubes along frame for strings to go through can further enable controlled angles to maximize leverage and have cleaner finish.

Above all, DDF not only allowed us to create a 1:1 functioning prototype of the second skin, but also raised awareness to the impact of digital fabrication on building systems in the modern age and years to come. Since a lot of commercial building structures today utilize pre-fabricated components to reduce time/cost and increase efficiency, it is interesting to see how more components are increasingly standardized, yet diversity and creativity are not hindered. The acceptance of digital fabrication is also noticeably shifting. While traditional in situ methods of construction is still common in Australia, is it interesting to see fabrication as the representation for quality/precision in countries like Japan. As digitally fabricated building structures such as the 3d printed canal house are beginning to emerge, perhaps we can achieve mass customization for houses soon? What would be the future of digital fabrication in building systems?

45

46

CREDITS

Page Drawings  Cover

Computation

Model Fabrication

Model Assembly Photography

Writing

Graphic Design

6 7







8 9





10









11















12



13







14







15







16



17 18

 

19 20













 

23 24

 

 

21 22





25













































26



27



28



29



30



 









31















32





























33



34





35 36



37



38 39

 

  





















40









41









42







43







44



45





46 47 48 49 50 Naomi Jemima Ng Samuel Coleman

47