M2_ by Naomi Ng

DIGITAL DESIGN + FABRICATION SM1, 2015 M2 JOURNAL- PANEL AND FOLD naomi ng & sam coleman 699616 & 586363 Michelle James

Sketch Design Development

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:

WHAT IS ‘PERSONAL SPACE’ TO US?

To enable our design to respond to the notion of personal space, the definition of personal space was firstly examined. Utilising one group member as a sample, we measuredthe distances of comfort between group members. This primary source enabled us to see that we are generally more sensitive from the head to the shoulders, particularly around the eye level.

discomfort (budging) confidence act as threat (appearing large)

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the distances of comfort space according to Naomi Ng. Measured by measuring tape.

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

Sketch Design Development RESPONDING TO PERSONAL SPACE

DEFENSE MECHANISM

State of comfort 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. 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. 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 defense

Theory of Defence Mechanisms, Sigmund Freud

Refined Sketch Model Previous reconfigured model

KEY WORDS EXTRACTED FROM NAOMI’S SKETCH DESIGN. LAYERING EXPANDING EXPLOSIVE LIGHT > DENSE HOLLOW > SOLID SPIKED the form of Naomi’s design was mostly used as the base for our combined design, which ultimately focuses on gradiation and transformation between a comfortable state to a very dense and intense state of defense. This is reflected through physical representation of layering and transformation in density, depth and layering.

Selected sketch design to combine ideas with

Previous reconfigured model

Refined Sketch Model KEY WORDS EXTRACTED FROM SAM’S SKETCH DESIGN. VOLUME SIDE VARIATION ANGLE VARIATION IRREGULARITY Sam’s ideas were incorporated to the design by implementing the notion of adding volume through irregularity and varing polygons onto a flat surface. This increased texture and flexibility to the design, enhancing Naomi’s idea of ‘explosion’. Sam also investigated the extents of confortable personal spaces, concluding that our face, particularly along the visual receptors, are most sensitive to invation whereas the back is most vulnerable.

Selected sketch design to combine ideas with

2nd Skin proposed design V.1 Perspectives of our design using digital modelling software Rhinoceros 3D.

PERSPECTIVE VIEW

FRONT VIEW

TOP VIEW SIDE VIEW

BACK VIEW

2nd Skin proposed design V.2

CATEGORIZATION OF PARTS

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

2)Shoulder Fabricaiton

3)Blooming Shards 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.

FEATURE #3: CHANGE IN DEPTH 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.

DIGITISED MESH OF BODY

Samâ&#x20AC;&#x2122;s reconfigured model, experimenting with hexagons and pentagons to create volume.

FEATURE #4: VARIED POLYGONS Samâ&#x20AC;&#x2122;s idea is implemented in the model by including ranging polygons, including hexagons, pentagons and squares. This increases the sense of irregularity and creates sets of emphasized textures on the surface. Furthermore, it is small and dense, implying the intensity of the person when personal space is invaded.

Precedent Research Huyghe + Le Corbusier Puppet Theatre by MOS

Name of precedent and designer

CHOOSE A PRECEDENT FROM THE LMS INCLUDE IMAGES OF THE PRECEDENT IN THIS SPACE

uniform, modular, ‘hard softness’ & indentation

What is the concept of the precedent? [Maximum 5 key words]

DIAGRAM THE PRECEDENT CONCEPT IN THIS SPACE

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.

[Maximum 80 words]

Precedent applied to design uniform, modular, ‘hard softness’ & indentation

Fabric like quality through panelling modular triangles.

How can you use this precedent to influence your design ? BACK

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.

[Maximum 25 words]

Design development

This protoype functions in a way that lifts each shard at a time. In a 1:1 scale, however, may have a gradual ‘lifting effect’.

Prototype Version #1.0 1.1 THE LIFTING SHARDS

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.

FRONT VIEW: LIFTED

SILHOUETTE: LIFTING PROCESS

TOP VIEW: RELAXED

TOP VIEW: LIFTED

FRONT VIEW: RELAXED

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

LIFTED

RELAXED

*lightness and flexibility of shards TO IMPROVE *timber frame- needs to be lighter and adapts to arm *strings- thinner and smoother to reduce friction *paper matieral- needs to be more rigid

1.2 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 userâ&#x20AC;&#x2122;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.

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

FIG.1

FIG.2

SPIKE HIDDEN

SPIKE EXPOSED

FIG.3

FIG.4

string not pulled down

string pulled down

Design development Prototype Version #2.0

MAIN ELEMENTS OF THE PROTOTYPE V2.0: 2.1: frame 2.2: Lifting Shards 2.3: Blooming Shards

[1]

[2]

the frames were laser cut accoring to a template, which was created through adapting the form of a male modelâ&#x20AC;&#x2122;s arm in Rhino. slits are created using the boolean split command.

[3]

[4]

2.1 FRAME INITIAL IDEA: short sticks that will be bonded joint-to-joint. However, the more joints, the weaker resistance to shear, compression and tension forces & gaps between arm and frame. REVISED IDEA: using a section and plan approach, frame pieces will be slotted to have a more secure/locked joints and more adaptive to arm form.

Design development

2.1- Frame

Prototype Version #2.0

STEEL

found object with treated finish PROS

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

BOXBOARD 3.0mm

MDF 3.0mm

PERSPEX CLEAR 3.0mm

PROS

*strong

*transparency

*pliable to armâ&#x20AC;&#x2122;s form

*lightweight CONS

*rigid

*rigid locking joints

*rigid &sturdy

*frajgile

*no adhesives required

*multiple colours available

CONS

*brittle

CONS

*cost effective

CONS

*ready-made

*requires adhesives

*low resistance to shear force

CONS

*loose joints

*a little weight

*pieces easily slide off

*layers wear out through time

SUITABILITY: 4.5/5

*dimension limitation *heavy

3 4 5

PLYWOOD 4.0mm

SUITABILITY: 2/5

SUITABILITY: 3.5/5

*expernsive SUITABILITY: 1/5

SUITABILITY: 4/5

Design development

RELAXED STATE templates for shards, with hollow (left) and solid (left)

Prototype Version #2.0

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

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 without adhesives

LIFTED STATE

17 section of slot & lock tab VS glued tabs

2.2- 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.

HOLLOW SURFACE

2) 1.0MM BOXBOARD PROS

4) 300 GSM CARD PAPER

*rigid

PROS *lightweight

CONS

*rigid

*heavy

*easy to cut

*difficult to stick

*thickness affects form SUITABILITY: 1/5

1) 300 GSM CARD PAPER PROS *lightweight *rigid *easy to cut

3 4 CONS

*layers wear out

*little soft

SUITABILITY: 4/5

3) 0.5MM CARD

5) PLASTIC SHEET

PROS

*rigid for thickness

*transparent

*easy to cut

*can play w/ light *rigid

CONS

*various finishes availble (e.g.

*difficult to stick

matte, gloss, translucent, transparent)

CONS *a little soft for hollow surface

SUITABILITY: 4.5/5 CONS *difficult to cut

SUITABILITY: 3/5

*difficult to stick *heavy SUITABILITY: 4/5

SOLID SURFACE

TOP VIEW: ENCLOSED

FRONT VIEW: BLOOMED

FRONT VIEW: ENCLOSED

TOP VIEW: BLOOMED

PLASTIC SHEET

BOXBOARD 0.5mm

2.3- BLOOMING SHARDS

PROS

INITIAL IDEA: illustrations below show the progression of ideas of the bloom-

*transparent

*easy to cut

ing shards. The design was initially uncovered and attatched with a string.

*can play w/ light

*lightweight

This made the core stuck inside when diameter is too small.

*smooth surface assists mechanism

CONS *Opaque, covering light

REVISED IDEA: Rubber band is added to increase elasticity and restrict movement. Flaps are also covered in a similar manner to a valve to in-

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

crease visual impact.

CONS *difficult to cut

*coarse surface, difficult to pulley up SUITABILITY: 2/5

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

19 [ver 1]

[ver 2]

[ver 3]

Testing Effects BLOOMING SHARDS

BOXBOARD LIGHT EFFECTS

PLASTIC SHEETS 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.

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

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head areas.

2) hollow surfaceopaque 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.