ENVS20001 M4 JOURNAL | S1, 2017 | NICOLE REN 836139

DIGITAL DESIGN + FABRICATION SM1, 2017 DANCE SPACE Nicole Ren

(836139) Matthew Greenwood + 4C

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CONTENTS 0.0 Introduction p.7 1.0 Ideation

1.1 Measured Drawings p.10

1.2 System Analysis p.12

1.3 Sketch Models p.17

1.4 Sketch Design Proposals p.19 2.0 Design

2.1 Initial Development p.24

2.2 Design Proposal V.1 p.26

2.3 Design Proposal V.2 p.28

2.4 Precedent p.30

2.5 Design Development V.1 p.32

2.6 Design Development V.2 p.34

2.7 Protoype + Testing Effects p.36 3.0 Fabrication

3.1 Introduction p.40

3.2 Development + Fabrication p.41

3.3 Reading Response p.44

3.4 Prototype Development p.48

3.5 Prototype Optimisation p.52

3.6 Final Design p.58

3.7 Fabrication Sequence p.60

3.8 Assembly Drawing p.62

3.9 Final Model p.64 4.0 Reflection p. 67

4.1 Modified Final Model p.68 5.0 Appendix

5.1 Credits p. 74

5.2 Bibliography p. 75

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0.0 INTRODUCTION The project is about creating a physical representation of personal space that a person can wear in response to a certain environment or situation – a sort of second skin. Often depicted as defensive and an area to protect, this project looks at the dynamism of personal space and how it evolves through dance.

Throughout the project, various research has been done from measuring the physical boundaries of our target audience (a young female of 20 who parties but is also slightly reserved) to gaining and applying ideas from the readings.

The chosen material system that formed the basis of the project was skin and bone, where an umbrella was analysed and reconfigured into a sketch model.

Finally, as is the main purpose of this project, the entire design and fabrication of this project was highly aided with digital software such as Rhino, Adobe Illustrator and InDesign.

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1.0 IDEATION Module 1 was about beginning the process of design after a thorough analysis of the material system.

It involved deconstructing an umbrella and then reconstructing it to create a sketch model that will form the basis of my sketch design proposals. Initially I found the module to be slightly demanding in terms of the number of pages required to be produced. Yet, beginning from basic hand-drawn sketches and slowly converting it into rhino was easier than expected.

As the initial designs were envisioned from the fabrication of the sketch models, I could begin to experiment and understand how the arm and locking mechanism of the umbrella worked. I found it hard to come up with new and interesting ideas as there were many examples of defensive prototypes, however I was more intrigued by a softer and more organic relationship between the skin and bone. I also wanted to incorporate some of the umbrella mechanisms into my designs and so I had to find a mediation between the mechanical quality of an umbrella and a flowing form.

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1.1 820mm

MEASURED DRAWINGS

These drawings were created by accurately tracing the outlines of photos taken from angles as parallel to the umbrella as possible.

Measurements were taken from the real object using a measuring tape and added to the drawings.

STAGES OF OPENING PROCESS (in ELEVATION) 1:100 ‘Skin’ changes tension and form.

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500

PLAN 1:100 950mm

MEASURED DRAWINGS 1.1 11

SECTION 1:20 0

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100

This section was drawn by taking a series of shots parallel to the arm of the umbrella and digitally stitching them together to create a coherent section before accurately tracing it.

1.2

SYSTEM ANALYSIS 50

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500mm

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470

mm

ELEVATION ANALYSIS 1:50

PLAN ANALYSIS 1:10 0

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The mechanical arms of the umbrella create several isosceles triangles within a hexagon that is the final form of the umbrella when it is fully opened.

Each segment of the hexagon is equal, making the umbrella a symmetrical object.

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In elevation, the umbrella is made up of quadrilaterals where the fabric produces irregular quadrilaterals.

When fully opened, the elevation of the umbrella is a one long trapezium.

SYSTEM ANALYSIS 1.2 80mm

A slight curve to facilitate space for the element to rotate.

PLAN ANALYSIS 1:10

All edges are rounded so it does not catch or tear the fabric.

13 Holes where the fabric of the umbrella is

Different silhouettes formed throughout the opening process.

Movement is allowed by pivots at the joints.

Parallelogram shape allows the mechanism to collapse into itself so the object is as compact as possible.

MAIN HINGE DETAIL 1:1 0

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attached to.

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1.2

RENDERED VIEWS

SYSTEM ANALYSIS

The previous section drawing was used in Rhino as a template. It was then traced and extruded to create the digital model.

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ELEVATION 1:100

PLAN 1:100

ISOMETRIC 1:100

BOTTOM 1:100

2D line drawings were created in Rhino and exported to Adobe Illustrator. They depict the assembly of the umbrella skeleton and opening process.

Handle grip (plastic)

SYSTEM ANALYSIS 1.2

2D LINE DRAWINGS

Extendable section (metal)

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Runner and cap (plastic)

Arm

ELEVATION of opening process 1:100

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EXPLODED ISOMETRIC of one arm and the handle 1:100

1.2

DETAILING

SYSTEM ANALYSIS

Joints and elements of the umbrella are shown close-up to emphasize the structure and points of movement.

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Grip and extendable neck

Lock mechanism and connection of arms to core

Separate elements pivot around to create a joint.

Rounded umbrella tip to prevent injuries.

SKETCH MODEL 1.3 17

I created a model from the deconstructed umbrella.

The model, inspired by tensegrity, encaptures the full volume when the arms are extended. The taut twine represents the tension of fabric. Utilising the bending motion of the arms, the model can collapse into itself and hence alters its form.

Alternatively, not all the arms need to be bent in, producing variations of encaptured space .

1.3

SKETCH MODEL

STAGES OF COLLAPSE/ OPENING

18 Fully collapsed

Two arms extended

One arm extended

All arms extended

The mechanism works like how a cobra or frilled lizard flares up when it feels threatened or evoked, like someone invading in our personal space. The wings are a metaphoric representation of confidence and essentially aids the wearer to expand their physical space and as a result their personal space too.

The wings are foldable, so it can just be used in the most dire of moments.

1.4

SKETCH DESIGN #1

CONFIDENCE, WINGS, EXTENSION, MECHANICAL

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A runner is attached to a piece running down the arm and the wings can be locked into place when opened.

OPENED

FRONT VIEW The wings with the mechanisms attached.

Showing its form when opened and closing.

CLOSED

SIDE PROFILE Showing the expansion of the wing.

1.4

SKETCH DESIGN #2

TENSION, FLEXIBLE, FLUID, MOTION, DANCE This design is a full body piece that encapsulates the smooth flowing movement of the human body. Its form is as if someone were dancing wildly and their shape were traced. The design would also swing as the person walks.

As it rests lightly on the body, the moments where the string is tightest, like the head, is where intrusion into personal space is most sensitive.

Strings at a tighter proximity emphasises the shape of the person within the design.

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Twists and tension represent the awkward strain between strangers as they encounter eachother in narrow public spaces.

The design can be twisted and worn in many different ways depending on the person and their personal boundaries.

The design can be customised for the wearer. The sharp points look defensive and unwelcoming protecting the wearer from unwanted intrusion.

The framal structure is light and by having only some panels woven, it suggests that no matter what, personal space is always permeable; and can easily be intruded on, welcomed or not.

Individual module Individual modules can be attached together. Personal space changes in different situations. It grows or shrinks.

Each module has one panel with woven fabric. The weave will not be completely solid or opaque.

FRONT VIEW

SIDE VIEW

1.4

SKETCH DESIGN #3

MODULAR, EXPANSION, TRIANGULAR

21 Assembled module The modules can be connected by magnets or a interlocking system.

Silhouette of the design.

It can change from dramatic to conservative.

Short straight lines can easily follow the contours of the body.

TEXT

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What I found most difficult in this module was being able to evenly distribute the workload. I found that each member was eager to contribute and to do their part for this module.

At this time, there was a lot of discussion about the form of the project and there were many variations of the design hand sketched as it was a much easier and quicker way to relieve ideas. Discussions normally went smoothly with a lot of agreements and solutions.

The rough sketches were a great part of the design process because it provides a more natural platform to discuss and develop ideas as a group.

2.0 DESIGN

Madeleine Archer 836470, Sze Kei Lai 794897

Module 2 began with the development of one of my designs. We chose it because of its unique approach to personal space. Within this module it underwent several development stages that begin to look at different ways of incorporating the mechanisms of the umbrella. The development was then furthered by researching precedents.

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2.1 This layered panel is designed for females dancing.

People’s personal space will change according to how much physical space they have. When the woman is dancing wildly, the panel will flare whilst remaining limp when there is not enough momentum.

The length of the panels is designed according to the personal space diagram.

100mm

PERSONAL SPACE DIAGRAM

INITIAL DEVELOPMENT

Sketch design #2 was chosen as the one to develop as it was more unique and had an interesting concept.

300mm 300mm 550mm

ELEVATION

PLAN

ELEVATION

PLAN

DESIGN WHEN LIMP

DESIGN IN FLARE

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100mm

ELEVATION

PLAN

INACTIVE

PLAN

ACTIVE

ELEVATION

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INITIAL DEVELOPMENT

2.1

DESIGN PROPOSAL V.1

DESIGN IN FLARE

2.2

After looking into personal space diagrams we felt that it was important to show the different personal space area for different parts on the body. Having the three separate pieces shows there is a larger need for protection around the head compared to the torso area. As the dancer spins the design flares out to provide enough space for comfortable movement.

PLAN

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ISOMETRIC

ELEVATION

The blue in the image below shows the area of personal space our design creates around the body.

It is focussed largely around the orms, upper body and head which we feel is the most important.

DESIGN WHEN LIMP

ENCAPTURED VOLUME

The circles are separated into segments to allow for easy collapse.

PLAN

2.2

DESIGN PROPOSAL V.1

We focused on the idea of personal space while dancing therefore when the person is not moving or dancing so much there is not as much space needed therefore the design falls against the body.

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ISOMETRIC

ELEVATION

2.3

DESIGN PROPOSAL V.2

Utilising the momentum created when spinning whilst dancing, this design flares out to signify the change in personal space during movement.

INACTIVE

ACTIVE

The sharp edges hint at the danger of trespassing into the personal space during wild movement (e.g. spinning).

Even at rest, the bottom lining of the structure encompasses a large area around the legs, providing a natural cushion for any social interaction.

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SIDE ELEVATION

FRONT ELEVATION

2.3

DESIGN PROPOSAL V.2 29

A close-up of how the structure sits at rest. At rest, the strings will create a fabric at slight tension as it is gravity that pulls it down.

The string are attached randomly in order to create a woven like texture. It will create a semi-permeable skin where some areas are more opaque than others.

Like the umbrella, when its function is activated, different silhouettes in plan view is created.

“11:11� by Winde Rienstra (2009)

2.4 PRECEDENT

TENSION, CHANNELLED, RHYTHMIC, SUSTAINABLE It uses frames as bones and strings as skin. The frame creates a certain shape that acts as the base of the whole structure while the strings crisscrossing make a surface between the frames. It is very interesting that even strings do not enclose part of the structure, it is still considered as a skin due to the tension of strings. The visual effect is the different perception of skin due to the viewing distance. When looking it from a distance, people may think that there is something covering between frames. But when they get a close-up, they will realize that it is only the crisscrossing. In short, the major features of precedent is the tension of strings and crisscrossing.

30 Rienstra, W. (2009). 11:11. [image] Available at: https://www.notjustalabel.com/designer/

winde-rienstra?collection=141293.

When looking from the side, it is clearly seen that they are strings embedded in the panel and reaches the opposite side.

Strings are running across two panels in tension to create a surface.

INFLUENCE IN DESIGN PROCESS

1. STRING TENSION The strings together create a surface when they are in tension.

The precedent has two features. The first one is using tension strings to create a flat surface. The second one is using 2 strings facing different directions to create intersecting panes - crisscrossing. The concept of ension strings creates surfaces at the front and back of the head design. While the crisscrossing is used to produce surfaces between the front and back.

HEAD DESIGN

2.4

PRECEDENT APPLIED TO DESIGN

TENSION, CHANNELLED, RHYTHMIC, SUSTAINABLE

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2. CRISSCROSSING FRONT String crosses to the front of the head design since we want to leave more space for the person to have interaction with others.

Strings will go across the front and back to produces surfaces facing different directions.

BACK Tension crossing strings will be applied at the back as people feel more insecure compared to the front.

DIGITAL PLAN

2.5

DESIGN DEVELOPMENT V.1

In this design we explored a more static second skin. The design still moves with the body as it is only connected to the head by a haeadband therefore the skin and bone are free to move quite fluidly. The design represents the personal space preferred while dancing with space for the movement of the arms and enough space around the face and head.

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PLAN

ISOMETRIC

ELEVATION

2.5 the arms come out. The design allows for arm movement within the ‘enclosed’ space and arms can also reach outwards/ upwards through the string for more open movements.

(Dancing, n.d.)

DESIGN DEVELOPMENT V.1

The image to the right shows the personal space people use while dancing showing that the main area is around the head and where

SIDE ELEVATION

DANCING ELEVATION

39590816bbf7313ed89735a8d88f8f9/free-clipart-people-dancing.html.

The second skin is connected to the body in only one point on the head with a headband. This means that the person wearing it doesnt feel like they are wearing the item and it does not affect what they are wearing underneath.

Dancing. (n.d.). [image] Available at: https://clipartfest.com/categories/view/7f49eedea

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INACTIVE STATE

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ACTIVE STATE

DESIGN DEVELOPMENT V.2

ACTIVE STATE

2.6

PLAN

BODY

Since there will be more personal space at the front than at the back, so the ‘mask’ will occupy more space at the front when compared to the back. At the same time,

Crisscrossing is deomonstrated between the two panels that on one hand it creates surfaces across different directions which is taken from the precedent. While on the other hand it connects the panels in an interesting way that it will have little movement when the person is walking and dancing.

ELEVATION

2 rings

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PLAN

LOCKING MECHANISM

CRISSCROSSING

2 hooks

ACTIVE STATE

There will be 2 rings around the body and 2 hooks connecting to the 1st loop to facilitate the locking system.

INACTIVE STATE

While in the active state, the hooks will be connected to the upper ring manually. So the 1st loop (of the body part) will stay uplifted to gain more personal space.

DESIGN DEVELOPMENT V.2

the panels at the front will be more angular and complicated to show how important and protective of the front will be.

2.6

HEADPIECE

CLOSE UP OF LOCKING MECHANISM

While it is in inactive state, they will be connected to the lower ring so the 1st loop (of the body part) will turn limp and gain less personal space.

2.7

PROTOTYPE + TESTING EFFECTS 36

Black perspex, white wool.

Metal rings, white wool

Metal wire, twine Creating a hyperbola through tension.

FORM + MOVEMENT

As the piece is able to flow, the contrast between the static headpiece and the movement of the body is emphasised through the way the light travels through the structures.

The head piece creates a strong solid silhouette, contrasting Testing with light woven through the with the softness of the strings in the body piece. strings to try to take a long exposure photo when it spins. Copper wire was too heavy to spin properly.

Spinning creates different forms and shadows

PROTOTYPE + TESTING EFFECTS 2.7

The main effect of the design is to showcase is its reaction with light and the silhouettes that the piece creates.

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TEXT

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During the fabrication process, almost all the digital preparation fell onto me as I was more fluent in Rhino than my team members. To do otherwise meant there would not have been a model, physical or digital.

However, being able to digitally synthesise and then fabricate the model helped with efficiency and allowed us to produce intricate curves and finer details like the plethora of holes to thread the elastic through (Kolarevic, 2003). Using digital software was also helpful because we could envision the pattern of the strings before laser cutting it (Iwamoto, 2009).

I learnt the most from this module as it seemed that my group had begun to lose motivation, and because of this it begun to feel like a long drawn-out process. From this module, it was also clear that time management is essential. Even on the night we fabricated we were trying different methods of threading. We had to stay up all night before the presentation to complete the fabrication of the model as we kept postponing meeting times. It created unnecessary stress and we were unable to focus on details such as cleaning the model or proof-reading the journal.

3.0 FABRICATION

Madeleine Archer 836470, Sze Kei Lai 794897

This module was the hardest module. Coming into this part, we felt that we had strayed from the original design and were unsatisfied with its development.

We decided to take a step back to try to simplify the process and to find a solution to the design problems.

This proved worthwhile as we quickly came up with our final skin design.

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3.1

INTRODUCTION

Our initial aim was to create a design to represent personal space while dancing. To do this we wanted to create quite an organic second skin that seemed to mimic the dancing motion. We struggled with finalising a design through module 2 and were not satisfied with the development so we decided to go backwards away from the more angular designs we had created and return to a more open, curving bone structure.

(Dancing, n.d.)

We wanted the design to hover off the body and faced a lot of difficulty figuring out how to hold the frame out without it becoming too bulky and minimise the ‘floating’ effect; the actual connections to the body also proved difficult. Our focus in module 3 was to achieve a fluid design with the main form created through the connection of the skin.

40 Dancing. (n.d.). [image] Available at: https://clipartfest.com/categories/view/7f49eedea

39590816bbf7313ed89735a8d88f8f9/free-clipart-people-dancing.html.

CREATING PATTERNS THROUGH STRING

PROTOTYPE DESIGN 1 FROM MODULE 2

PROTOTYPE DEVELOPMENT FROM MODULE 2

We also had to decide on the materials we wanted to use throughout the design. Clear perspex was decided for the bone creating a strong but transparent frame allowing for the skin to be the main focus. The skin was a more difficult decision with twine, elastic, plastic cord, wool and fishing line all being tried.

DESIGN DEVELOPMENT 3.2

We experimented with different ways to form our curved design when all pieces were being laser cut so they were technically flat.

We tried heating perspex and found it would bend without cracking. We wanted our design to wrap around the body so the idea of separating the curves into segments also developed.

DESIGN PROGRESSION SKETCHES

We looked at overall form of the skin and the bone, the shape and design of segments and curves and the connections to the body through belts and shoulder straps.

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3.2

DEVELOPMENT + FABRICATION 42 PLAN

FRONT

SIDE

This prototype utilised segmented pieces that connected the back into a felt belt that wrapped around the stomach. Plastic cord was used as the skin to connect the waist pieces and shoulder piece.

The cord used was not ideal as it deformed easily when pulled tight. The segments were not secure during the making, resulting in the tension change and the cord loosening up. Another issue was that we had not calculated the amount of holes therefore there was a large difference between inner and outer pieces.

The pieces also did not fit correctly but overall we liked the form that was produced.

BACK OF BELT

CORD DID NOT FORM STRAIGHT LINES

DEVELOPMENT + FABRICATION 3.2 43

ELEVATION

PLAN VIEW

ISOMETRIC VIEW

WEEK 6 READING RESPONSE

Architecture in the Digital Age - Design + Manufacturing

by Branko Kolarevic

3.3

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Briefly outline the various digital fabrication processes. Explain how you use digital fabrication in your design?

There are four different digital fabrication processes introduced: 1. Two dimensional fabrication 2. Subtractive fabrication 3. Formative fabrication 4. Additive fabrication In module 1, we explored the theory of design and tried prototyping in module 2. The explicit explanation of digital fabrication was made during the week seven’s lecture and in Kolarevic’s reading about ‘Architecture in Digital Age’. The shift from only hand drawing designs to computer software was revolutionary and allowed threedimensional visual analysis, something that cannot be done merely by looking at hand drawn designs.

LASER CUTTING TECHNOLOGY (KOLAREVIC, 2003)

Kolarevic, B 2003, Architecture in the Digital Age ‐ Design and Manufacturing /Branko

Kolarevic. Spon Press, London

The connection between ideas, designs and fabrication was revolutionised by the emergence of new technology, e.g. Rhino. As the development of fabrication technology goes on, the process of design and digital fabrication can hardly be separated. The complexity of details and curve in designs is simplified and allows for a greater variety of arrangements and compositions.

We used the laser cutter, a two dimensional method, as our main method of fabriction. Segments and pieces were drawn in rhino and sent to laser cut in clear perspex 2.0mm 600x900.

The high precision and replication of using digital application leads to success in the transition of the design in Rhino to the real world.

Precision is crucial for the location of the holes for elastic strings and hence the final skin form. The high accuracy of the curves of the shoulder pieces allows it to sit firmly on the model’s shoulder during presentation and performance.

RHINO OF PROTOYPE 1

In our 2nd skin, we applied two dimensional fabrication. Laser cutting saves us time especially when we are working on slots and notches for our connections. The accuracy and precision of the connections makes our work a lot easier when fabricating.

It also helps us to understand the properties of the materials since some of materials cannot be laser cut. We chose perspex not only because it can be laser cut but also it can shaped by heating and cooling.

Perspex is available in multiple colours and transparencies, allowing us to optimise our design and concept. Clear perspex was decided so the form of the skin would be the main focus.

READING APPLIED TO DESIGN 3.3

How does the fabrication process and strategy effect your second skin project?

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The 1:1 scaled prototype allowed us to think about the angles of segments sitting on the body. The shape and the size of segments have to be adjusted in order to create specific visual effects.

In the digital process, we could not determine the strength and the weight of the model. For the prototype we used 2mm thick perspex, but we found it too flimsy on the body and it snapped easily during assembly. 3mm thick perspex was ultimately used for greater strength and stability. Physical fabrication allows us to discover problems and make improvements on the actual prototype.

PERSPEX MODEL

The revolutionary shift allowed a comprehensive architectural innovation and imagination during the design process. A closer linakge between digital design and construction allows better results as the final product. Mistakes and flaws are unavoidable, yet vital for improvement.

Sometimes the faults can lead to new ideas that surprisingly work well for the design. Digital technology extends architect’s imagination and helps produce solutions for designing or refining the prototypes. It also makes people to think critically when trying out different ideas since they can test and make refinements based on the problems they encounter.

Iwamoto, L, 2009. Digital Fabrications: architectural + material techniques/Lisa Iwamoto.

New York: Princeton Architectural Press c2009

Rhino and Autocad are examples of the use of digital technology from design to fabrication. Autocad replaced two dimentional hand drawings while Rhino allows three dimentional designs to be laid out in virtual world quickly. This enables a larger range of designs no matter the scale, complexity and detailing in architectural form or construction.

The emergence of digital technology contributed a lot to the design field as it enabled people to test prototypes faster. By testing out the prototypes, it allowed people to make changes and refine their designs quickly. This enables designers to to improve and modify designs into the final outcome. As a result, designing, making and testing prototypes becomes part of the designing processes.

PROTOTYPE FROM DIGITAL FABRICATION (Iwamoto, 2009)

Through improvements, refinements and the progression made during the design process, we will learn from mistakes and obtain knowledge and intelligence when creating something. Michael Speaks mentioned “Making becomes knowledge or intelligence creation. In this way thinking and doing, design and fabrication, and prototype and final design become blurred, interactive and part of a non-linear means of innovation.�

SLOTS IN PROTOYPE

WEEK 7 READNG RESPONSE

Digital Fabrications: architectural + material techniques

by Lisa Iwamoto

3.3

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Describe one aspect of the recent shift in the use of digital technology from design to fabrication?

READING APPLIED TO DESIGN 3.3

Referencing from the lectures and readings, what is the implication of digital fabrication on your design ?

Digital fabrication helps us a lot in making our prototypes and final product. We mainly used laser cutting because of its accuracy which was crucial for the small connections between components. The precision of such fabrication allows the slots to join perfectly so that it stays firm on the body. It also saves a lot of time when we are trying to make a lot of prototypes so that we can test them to make improvements.

Before sending elements to laser cut, the use of rhino is essential to helps us realise our ideas in three dimension. Changes of our ideas in rhino is a lot easier when compared to making several prototypes by hand.

Designing and making prototypes combined becomes design and digital fabrication.

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The lectures and the reading mentioned that design is a non-linear process which means the fabrication of prototypes becomes an important part in the designing process. By testing prototypes, we can more easily find solutions to make our final product a better one.

RHINO MODEL

3.4

PROTOTYPE DEVELOPMENT 48

We adjusted the design to fit the body properly by printing off the pieces on paper and cutting them out of cardboard. This allowed the elements to be drawn on, shaped and cut to fit. This prototype was more flexible which made it easier to change and manoeuvre but it was a lot weaker than the perspex meaning we could not attach the skin and the pieces did not hold very well.

We decided to change the size of the shoulder piece after this protoype, add a smaller one to the right shoulder and merge the lower segments together to create a nicer curve that could sit on the body more easily.

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ELEVATION ELEVATION PLAN

PROTOTYPE DEVELOPMENT 3.4

3.4

PROTOYPE DEVELOPMENT 50

After fabricating the initial perspex model, we found some issues with fit and structure.

The initial design included a belt to hold slots for the segments. However, the process of combining the belt and the slots was difficult and so we decided to omit the belt and refine the shape of the perspex so that it wraps onto the body without other support. This does not only look more aesthetically pleasing, but also ensures a more stable structure.

Belt with slots joining to the segments

We noticed that the left shoulder segment intersected with the segments on the waist which will hinder both the passing through of strings and the addition of the skin. In order to avoid it, we shortened the length of the left shoulder segment and made it curve around the body more fittingly.

Intersection of the left shoulder segment and waist segment

PROTOYPE DEVELOPMENT 3.4 Another concern is the layout of personal space of our design at the back. According to our personal space diagram, people do not only gain personal space at the front but also at the back, especially neat the head where it is more sensitive.

Yet, the back is vacant at the moment. So we decided to inlcude an extra piece to convey this idea. At the same time,

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we wanted to add some visual effects at the back in order to balance out the heaviness of the segments at the front.

Vacant at the back

3.5 TESTING PATTERNS

As the string is passing through the holes on the segments to make patterns and surfaces over the bone, it is very important that we have the correct amount of holes to facilitate the pattern to form. We found that the number of inner and outer holes did not match which led to difficulties in creating patterns and final skin form. We improved that by calculating the same number of holes for both the inner and outer side to ease the process of forming the skin.

TESTING PATTERNS

PROTOYPE OPTIMISATION 52

Through working on the physical prototype, we observed that we can make changes on some parts of our work to produce a better final 2nd skin.

The plastic cords passed through the holes smoothly, but like the fishing line it has its own tendency to coil which made it hard to create our intended effect.

Finally elastic, it is stretchy, flexible, tight and the most important thing is that it keeps tension and does not deform. It works well on the overall shape so we decide to use elastic as our final 2nd skin material.

PROTOYPE OPTIMISATION 3.5

FISHING LINE WOOL

Wool end tended to fray and made the fabrication process difficult. The wool also has a fuzzy effect which detracts from the model.

PLASTIC CORD

The fineness of the fishing line looked elegant, although it would also tend to take its own form as it has been in a coil for a long time. Threading was easy, but knots were hard as it would unravel.

ELASTIC

During our M2 feedback, we were suggested to search for alternate options for the skin. The strings in our M2 prototype, we found the tension hard to control and it loosened very easily. Other skin materials such as wool, elastic, plastic cord and fishing line were tried.

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3.5

PROTOYPE OPTIMISATION 54

REFINEMENT OF SHOULDER PIECE

Another problem we encountered when making the prototype was that the shoulder segment did not fit well on the shoulder.

We dislocated the cardboard in order to measure the model’s shoulder more accurately and to make it form-fit her body better. Changes were then made on the rhino model.

The previous design with a belt, slots and segments had a problem with stability and difficulties in connection, so we developed the belt in to a pieces that sits directly on the waist (page 55). This allowed for better stability and easier fabrication.

ILL-FITTING PROTOTYPE

PROTOYPE OPTIMISATION 3.5

LASER CUT PERSPEX SEGEMENTS

As our desire shape of the segments will curve around the body to represent the dynamism and movement throughout the whole piece, we tried to form perspex into a curve. On a small piece it was quite effective, however it was not easy on a larger scale.

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All the pieces were laser cut for efficiency and to ensure accurate curves.

WAIST DEVELOPMENT

PERSPEX HEATED AND FORMED

RIGHT SHOULDER PIECE DEVELOPMENT

3.5

PROTOYPE OPTIMISATION RIGHT SHOULDER PIECE It was not very stable on its own, so we created a waffle system to stablise it. However, the entire piece become too heavy for the existing structure.

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We eventually reverted back to the original design as it still maintained the effect we wanted.

WAFFLE SYSTEM WE TRIED TO APPLY INTO OUR DESIGN

PROTOYPE OPTIMISATION 3.5 PERSPEX COLOUR The perspex was originally black, but when considering an everyday environment clear perspex would be more ‘invisible’ than solid black.

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The clarity allows people to focus on the pattern of the strings that create the skin of the model.

CLEAR PERSPEX, WHITE PLASTIC STRINGS

3.6

FINAL DESIGN

The final skin design is comprised of clear perspex acting as the bone and white elastic string as the skin.

Each element of the model is tilted to an angle in order to replicate some form of dynamism like swirling on a dance floor. The main focus of the design is the form that the skin creates. The bones are all joined together by the skin, where without it, it would seem bare and insignificant, and collapse without its support.

For its sensory effect, this design plays with the light and how the density or lack of in certain areas allows glimpses of the human body. Densely packed string is hence able to look like a flow of fabric and create intricate shadows when light is casted upon it.­

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ELEVATION

PERSPECTIVE

Despite the intention of having clear perspex so the bone is invisible, under light against a plain background the perspex creates a unique shadow.

Interplay between density can also be seen here.

FINAL DESIGN 3.6 59

SIDE VIEW

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PLAN VIEW

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FABRICATION SEQUENCE 60

Our frame was laser cut perspex with holes running along the sides to thread the skin.

We began our fabrication by sitting the laser cut bone pieces on the body so we knew what distance the elastic string had to span at the various points. The number of holes was calculatued and matched up on each piece to allow for easy fabrication.

FABRICATION SEQUENCE 3.7

TESTING THREADING EFFECTS

In the process of creating the skin. It was initially done on very loosely so that it can be tightened later. This method was developed through many trial and errors, where as we tried to keep tension whilst we went around the body, certain areas were tauter than others and so there was uneven tension around.

PATTERN OF UNEVEN DENSITY CREATED

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3.8

ASSEMBLY DRAWING 1

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ASSEMBLY DRAWING 3.8

THREADING GUIDE:

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STEP 2

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INSTRUCTIONS 1. Place the left shoulder (1) and waist piece (2) on the body at a comfortable height.

2. Begin to thread the elastic string (4) through the holes going in a pattern that reaches from the inside of the waist to the outside of the left shoulder piece. (Refer to Step 1 of Threading Guide) 3. After, thread string from the inside of the left shoulder piece to the outside of the waist piece. (Refer to Step 2 of Threading Guide) 4. Now place the right shoulder piece (3) onto the body and slot it at a comfortable height on the left shoulder piece.

5. The final stringing of the skin between the right and left shoulder piece. Begin from the hole at the tip of the right shoulder piece to the hole closest to the body on the left shoulder. This in turn creates a beautiful minimal surface if the tension is right.

(Refer to Step 3 of Threading Guide)

3.9

FINAL MODEL

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FINAL MODEL 3.9

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which included a change in materiality and design.

The entire model was laser cut from 4mm MDF and then spray painted black. The conversion to MDF meant that the pieces were more robust and could endure a little more tension from the elastic and the wearer. The elastic used for this model was also thinner and it gave the model a sleeker minimalistic look.

This project has been a rollercoaster. At first it started off well, but some differences during the group project made it difficult to progress as successfully as I wanted. I felt that Module 2 was where the most stagnancy was at, especially because one of the team members did not contribute to the design process despite her hardworking efforts to complete the journal as we specified.

I personally prefer the black MDF model, it looked a lot more elegant because it contrasted a lot more with the white strings. It was also able to convey the idea of an invisible frame much better than the clear Perspex after which was not as clear by the end because of our fingerprints during the fabrication process.

Fabrication was also a tricky obstacle, even after various tests we did not find a clear solution to the loosening tension of the strings. We had to research and experiment multiple materials for the skin and that was the most time-consuming.

During M3, timing was the greatest setback. We had to work around the model member’s schedule which made it more complicated. Two nights before the presentation we experienced the fragility of Perspex, where an important joint snapped. This was probably one of the lowest points of the project because we could not get it re-cut on time and would have to rely on previous prototypes.

After the final presentation, modifications were made to the design before the final runway performance

Overall, I liked this subject despite the problem with teamwork and time. The modules aided in simplifying the entire design and fabrication process.

By beginning with deconstructing a common object like the umbrella and then ultimately transforming it into a full body length abstract piece the graduation in complexity can be seen throughout the journal.

This subject has been a truly fascinating way to look at design. It showed how just basic geometry from an umbrella can inspire a myriad of different designs. The process of finding a solution has also shown me that it is necessary and sometimes vital that we take a step back and look at the beginning, for the answers that we need may be there.

4.0 REFLECTION

I first chose this subject because I thought that it would be very useful in helping me learn the more commonly used digital software in the design process. I was not disappointed as it was very heavily based on fabricating digital models as well as producing them in 2D, suitable for laser cutting.

This subject was also my initiation into the Fablab world.

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4.1

MODIFIED FINAL MODEL

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MODIFIED FINAL MODEL

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5.0 APPENDIX 5.0 APPENDIX

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BIBLIOGRAPHY 5.2 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.

Dancing. (n.d.). [image] Available at: https://clipartfest.com/categories/view/7f49eedea39590816bbf7313ed89735a8d88f8f9/free-clipart-peopledancing.html.

Miralles,E., Pinos, C., 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, Ditte Heath, Aage Lund Jensen. New York : Watson-Guptill.

Iwamoto, L, 2009. Digital Fabrications: architectural + material techniques/Lisa Iwamoto. New York: Princeton Architectural Press c2009 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 Scheurer, F. and Stehling, H. _2011_: Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 _4_, July, pp. 70-79 Sommer, R. 1969. Personal space : the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J. : Prentice-Hall, c1969.A Rienstra, W. (2009). 11:11. [image] Available at: https://www.notjustalabel.com/designer/winde-rienstra?collection=141293.

Rifkin, J 2011, The third Industrial Revolution. Palgrave Macmillan.pp107-126

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