691947 Mo Chen

DIGITAL DESIGN + FABRICATION SM1, 2015 M4 Journal Mo Chen

(691947) Paul Loh+ Tutorial 1(4)

DIGITAL DESIGN + FABRICATION SM1, 2015 M4 Journal

Mo Chen

(691947) Paul Loh+ Tutorial 1(4)

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0.0 Introduction A [ Second Skin ] is designed to define and visualise the personal space of a wearer according to his/her need in the daily routine. It is a wearable design that use the curvilinear human body as the site and campatible with simple body movement.

In order to find the [ Personal Space ] of the wearer, several experiments have been recorded to measure the distance. Several ideas and findings in reference readings have been abstracted, explored and applied during the design process.

The fundamental material system supports the personal space is [ Skin and Bone ]. And as an classical example of this system, the mechanism of a [ Umbrella] is analysised and reconfigured to perform the need of the wearer.

During the process of design and fabrication, digital technology is acting as a crucial link. Methods of “mastering� these softwares and fabrication machines are being studied to realized the design as close as possible to the [ ideal ] result.

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DIGITAL DESIGN + FABRICATION 1.0 Ideation

Individual : Mo Chen 691947

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1.1 Umbrella “Observation is a necessary part of creation” (Heath, Heath & Jensen 2000). [Measured drawings] as the necessary for studying the object are produced through methods introduce in the 300 Years of Industrial Design.

Measurement of the unmbrella skin is taken by the seam between two pieces of the fabric. Each fabric has identical dimensions.

After the measure of the skin was recorded and the photos of the entire unbrella were taken, the umbrella was decomposed into [ Skin and Bone ]. And the bone system was further breaking down into individual [ branch ] that was repeated to support the whole structure. Digital scans of the branches were taken instead of photos in order to get the full 1:1 scaled size of the object. The scans were then turned into Black and White image in Photoshop because Black and white could reveal “better concentration on form and surface” of the object.

Tracing the lines and following the arrangement of the system, measured drawings were produced to scale.

According to the drawings, digital model is then produced in Rhino 3d software at full scale. One branch is produced first and array along the middle controller.

After modelling the bone, the skin is then applied.

Black & White scan of the branch

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Black & White scan of folded branch

Black & White scan of connections to the middle

1.1 Unbrella : Elevation and Plan Measured drawing of the entire umbrella: skin and bone together.

50 cm

NAME: UMBRELLA ELEVATION SCALE: 1:10

50 cm

NAME: UMBRELLA PLAN SCALE: 1:10

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1.1 Umbrella : Section Measured drawing of a branch attached to the middle pole.

6.8 cm

50 cm

NAME: UMBRELLA SECTION SCALE: 1:2

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1.1 Umbrella : Rhino model Plan

Elevation

Perspective

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1.2 Umbrella & System Analysis The force of the rain are asserted onto the skin and then to the bone which then transferred towards the middle pole and going downward.

A

Joint to mid pole

F rain Apart

B Components of the branch are connected by hinged joints which allows it to rotate both clock-wise and anticlock-wise within 180 degrees.

Controller A is fixed, controller B is active. When A and B are parting the system is folded. When A and B are meeting the system is expanded.

Folded

A

Also the skin is connected to the bone at the position of these joints.

B

Expanded

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Meet

1.2 Volume Reconfigured material system from umbrella system

Invalid Structure

valid Structure

Work as Controller

Work as Performer

2 Branches control at same time

Same Length Straight Lined

Controller: use plane instead of stick = easier to hold

Performer:array along curve

Pull

Controller: push

Fixed as base work as an handle most easy to use

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Control of both sides

1.2 Volume : Model Making Model making material & tools: Balsawood plank 2.5mm White A4 print paper Metal drawing pins Transparent sticky tape Cutting knife Hot glue gun

Side: half extended

Balsawood: cut into strips with different length, same width & thickness as the components made up of the branches. cut into plane and column as the base of the branches and as the controller of the system.

Side: full extended

Pin: work as the hinged joints with hot glue at the tip as reinforcement White paper + Transparent sticky tape: cut paper into strips and arranged to create pattern, then settle the arrangement by the transparent sticky tape at both sides.

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Top: reconfigured skin pattern

1.3 Personal Space

Animated (eyes uncovered)

Explanation Diagram- illustrated referred to Personal Space (Sommer 1969).

Threat

Personal Intimate

Social Safety

Three Types of Space Boundaries Personal Intimate Social

Inanimated (eyes covered)

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1.3 Sketch Design Proposal Sketch Design 1# Adjustable: wearer will be able to control the volume amount created by the second skin according to different needs. e.g towards different groups of people, in different space (private/ public).

Sketch Design 2# Compatible: The arrangement of the branches are designed according to the curvial surface and the basic movement of the human body to create comfortable and convinient wearing experience.

Sketch Design 3# Emotional Boundaries: The fully activated mode of the design will cover the head of the wear to avoid most social contact and express the “DO NOT COME� emotion of the wearer. The new developed skin will be important for the design of face area as the wear should still be able to sense what is happenning around.

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Evaluation Of Module 1 Ideation In this Module, the overall result is pleasant especially the development of the reconfigured model which is successful and inspiring. The method of modelling in Rhino is studied in workshop with reference of Inside Rhinoceros 4 (Cheng 2008) which introduced the key principles of digital modelling and these skills were further applied in design process afterwards.

However, some aspects need to be revised: First, hand sketch is a quicker way to record the ideas that flash in mind. But as in a presentation journal, the effect of hand sketch is not as clear as the digital drawings. I digitize the hand drawings in Journal 1 and all the theorys and ideas are now clearly shown.

Hand drawing

Second, The reconfigured model is successful as the fundamental mechanism system has been successfully studied.

While, small details were slightly overlooked, such as how the skin was connected to the bone. These small details were then causing problems in the following design process.

A

B

Third, the sketch model were not labelled with accurate key words as how it relates to the ideas of personal space that abstracted from the reference reading and it is revised now.

A

B

Digitized drawing

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DIGITAL DESIGN + FABRICATION 2.0 Design Group: Mo Chen 691947 Vernansia Frisca Natasya 657609

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2.1 Design Development Intro

M1 Sketch Design (Mo Chen)

Design aspects taken forward from Module 1 In this module, the design will: continue developing mainly focus on the face, torso and arms as in the previous sketch design. be capable to expand and fold according to different needs by takind advantages of the umbrella hinge mechanism.

M1 Sketch Design (Vernansia Frisca)

obscure the identity and represent the emotional changes of the wearer through features around eye area.

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2.1 Measurement of personal space d>2m

32.5cm<d<1m

d<32.5cm

In order to learn about the personal space better and apply more accurate dimensions onto our design. We did several experiments to test how close we can approach to each other and how we feel at different distance.

First, we tested when we feel not interacted.

Frontal

Second, we tested when we feel acceptable under ordinary social interation.

Third, we tested when we feel a bit embarrased and canâ&#x20AC;&#x2122;t endure to be closer.

Experiments were taken both frontal and lateral as our design will mainly focus at the front as well as the side. And the boundaries of different levels of personal space are then defined.

No interaction

Social

Intimate

No interaction - social: d>2m Social - intimate: 1m<d<2m Lateral Intimate - personal: A- frontal 32.5cm<d<1m B- lateral 13.5cm<d<1m Personal: A-frontal d<32.5cm B- lateral d<13.5cm

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d>2m

13.5m<d<1m

d<13.5cm

2.2 Expanding the territory of body and emotion.

These three boundaries will then be defined by three levels of expansion of the bone strucutre.

By repeating the bone branches, surface and volume are created. Therefore, the body territory of the wearer will then be corresponded to the will of the wearer under different circumstances.

Feeling of secure and at ease will be achieved since the design will place others at the “safe distance” from the wearer and the design feature focus on the face will obscure the identity of the wearer and also whittle the “threat” from others eye sight.

personal: folded single branch intimate: half expanded single branch

social: full expanded single branch

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2.3 precedent study Snowdon Aviary, London Zoo Designer : Cedric Price

Fixed joint

A design that aim to make people unware of its existence

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characteristics: triangular rigid steel frame + transparent stretched mesh skin Frame The tectonic and the material system of this precedent is studied and will be further developed in our design of the second skin.

Material systerm The steel frame structure: form the primatic outline of the sytem hold and support the skins The transparent mesh skin: attached to the frame by tensil cables create effect of stretched, taut surface of the volume The base: settle and stablize the structure to the ground with pin connection.

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Skin

assembled

2.4 Development of the mechanism system In order to provide refuge for the wearer and kept others wihtin the â&#x20AC;&#x153;safe zoneâ&#x20AC;?, the design of the second skin is developed referred to the precedent study to form a shape that is prismatic.

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In order to achieve the prismatic overall effect, alterations are applied on to the basic branches.

Upon the previous structure of the frame, the performer components of a branch is triangulate and scaled into differet size and angle to allow dynamic variation in the design to correspond to the curvial surface of the body as a site.

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Whatâ&#x20AC;&#x2122;s more, the surface formed by the developed branches will present various effect at different stage of expansion and thus different effect towards different groups of people.

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2.5 Design Proposal 1.0 Head + Arm The first proposal is a second skin which applies volume around the head and the arms of the wearer.

The two pieces will be place at same orientation that the the controller is placed at the top and the perfomer of the branch is pointing towards ground when the design is collaped.

While, they act in opposite direction when strangers are approaching.

The head piece will be collapsed which covers the eye of the wearer to present the emotion change.

The arm pieces will be expanded to mark out the personal boundaries of the wearer.

Front elevation

Side elevation

However, this proposal couldnâ&#x20AC;&#x2122;t be achieved because, the two pieces are positioned too far from each other so the wearer will not be able to control the transformation by one motion and the connection between these twp pieces will limit the basic movement of the body.

Plan

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Perspective

2.6 Design Proposal 2.0 Torso In order to solve the problem encountered in design proposal 1.0, a solution came up. The head piece is shifted to the waist, the arm pieces are reserved.

The two pieces will be place at opposite orientation. For the new piece, the controller will sit at the waist and the perfomer will be pointing towards the sky. For the arm pieces, the controller will be still at top with performer pointing towards the ground.

Front elevation

Side elevation

When strangers are approaching, the piece which covers the front will be raised up towards the face to reduce the eye contact and the arm piece will be expanded.

The control system is also refined to ensure the structure stay in the right position with the assistant of the addtional frame layer. And a handle is also designed for easier control.

Plan

Perspective

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2.7 Prototype Two versions of prototypes were made according to our design proposal.

The first vervionis made to test the triangulated components as well as Design Proposal 1. Two pieces were made by balsawood strips, baking paper, hot glue gun, metal drawing pins and white cardboard.

The basic mechanism system is the same as my M1 reconfigured model, but the perfomer components were changed into triangulated version with various scales and angles.

And these developed branchese were then attached to the base piece that customized according to Friscaâ&#x20AC;&#x2122;s body dimension.

The overall effect is upon expectation while the fabrication details are rough and not precise according to our measurement of personal space and the surface it created is not smooth which might not be a developable surface that intoduced in Surface that can be built from paper (eds Pottmann, Asperl, Hofer & Kilian 2007) According to the effect of the prototype, we decide to use complete fabric to expand over gap between branches instead of strips of barbric to achieve better prismatic finish.

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Arm piece Head Piece

2.7 Prototype Therefore a second approach is made. We changed the material of the branches into box board create the cutting file based on our digital model and send it to the laser cutter which can cut the branches into the shape and dimensions we planned accurately and neatly.

The skin of the design were also designed into developable surface that can be unfold into planar surfaces (eds Pottmann, Asperl, Hofer & Kilian 2007).

However, when we try to assemble the cutted components, the connections are not working properly due to mistakes made during digital fabrication process. The scale of the holes we made for the hinges are too small and the branches should have slips to connect to the base components on the body.

Box board components

The box board components are too heavy and cumbersome.

And the material looks less pleasant than the balsawood we used in previous prototype. We ten need to find a material that has similar colour as the balsawood with stronger strength to make the branches.

Whatâ&#x20AC;&#x2122;s more, in order to get the strechy transparent fabric to achieve the taut surface, we went to the fabric shop. Three optional fabric were found: Black pleated cernolin, black net veil and white net veil. These fabric create beautiful shadows. The application of these fabric will then will further explored in next module.

Three types of fabric

Black veil & shadow effect

Invisible white veil & shadow effect

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2.8 Testing Effect

Side: collapsed structure

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Back: expanded structure

Evaluation of Module 2 Design In this Module, the biggest lesson we learnt is the managment of time.

Theory, sketches, ideas

In order to test out the effect, we need to wait for the components to be cutted through lasser cutter which spends nearly two days to finish.

We get the components one days before the due date expecting everything will be working as we modelled in the digital model.

However, “accident” always happens againt peopl’e will. We end up having no time to make another one. Although it is quick to make alteration on the digital model, it takes much longer time and effort to make the physical prototype.

Digital Fabrication

We learned that we need to manage our time more wisely with consideration of the production time and the possibily of faliure.

In digital model, there’s no gravity and force like real world which makes physical model-making during the design process become a neccessary to test our ideas modelled in the digital world.

Computer-aided machines & tools

As mentioned in Lost in Parameter Space (Scheurer & Stehling 2011), digital fabrication implement a “passably seamless digital workflow”. It makes the later fabrication process becomes much closer to the original design through sending the digital data from the model direct to the machines and tools of production.

By using digital fabrication, we can exam the effect of our design through the model produced correspond to the digital model and then get feedback to improve the digital file and design.

Physical Model

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DIGITAL DESIGN + FABRICATION 3.0 Fabrication Group: Mo Chen 691947 Vernansia Frisca Natasya 657609

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3.1 Fabrication Intro From module 2 Design, several aspects were determined ande several aspects need to be further modified.

Determined aspects: material system - skin and bone mechanism system - umbrella hinged system expand: create volume that defines â&#x20AC;&#x153;safe distanceâ&#x20AC;? + colapse: indicate openess to interaction Foucs area of design: front torso & arm

Aspects need to de further developed: connection to the base components on body fabric of the skin and the way it connects to the branch Improved Design 2.1 from M2 material of the branches which has smiiar colour as balsawood but stringer strength

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3.4 Design development In response to our Module 2 feedback, we made the following changes to our design details: • Use 3mm MDF instead of box board (better strength-to-weight ratio & colour that is similar to balsawood) • Amend hole sizes to fit store-bought Chicago Screws (5mm) • Decrease the section size of each component from 20mm to 15mm • Eliminate one side of each triangle to reduce the weight of the structure • Round the corners and edges of each component to achieve an overall fluid aesthetic.

Detail A

Detail B

2.5mm

20mm

5mm

15mm

Modifications to component detailing

Detail A

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Detail B

3.2 Design development Upon Design proposal 2.0 from M2, the design is further developed to Design 2.1 which has more variation and become more dynaimc by adjusting the scale of the triangular components of the design around arms. The design around arm is eliminated to leave more space for arm movement.

The front torso design was splited into three parts connected to the base compunents on the waist: two side volumes & one front volume.

M2 Design 2.0

M3 Design 2.1

In Design 2.1, the design of the back is also added. However, after the lessons we learnt in M2, we predicted that we will not be able to assemble these within the time frame. So we simplified our design into Design 2.2 which only has the design at front torso connected to the waist base components.

M3 Design 2.2

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3.2 Design development Design 2.2 Front elevation

Plan

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Side elevation

3.4 Design development Development & refinement: base components on the waist + connetions to the base component Week 6 | Architecture in the Digital Age - Design + Manufacturing/ Branko Kolarevic, Spon Press, London 2003

Our Second skin design makes use of production strategy of sectioning and developable surfaces by fabrication technology of lasser cutting.

In order to produce the volume of our design, sectioning is applied to define the bone structure of 2D triangulated surface arrayed along the circular base compoments sit on the waist of body.

We use lofting to generate the skin between each section which is developable surface we can further unfold to planar surface for fabrication.

Lasser cutting is then used according to the 2D lassercutter file data we translated from the digital model of our design.

How sectioning/contouring and developable surface are used in the basic form of our Second Skin design

Layout of 2D components of Second Skind design before lasercutting

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3.4 Design development Development & refinement: base components on the waist + connetions to the base component

With the help of digital fabrication, we can develop and refine our design component details with customized measurement which is compatible to factorymade joints sell in the market. We can cut through MDF using laser cutter to achieve the strong & lightweight components.

However, since lasser cutter we have accessed is only able to cut planar surface (thickness up to 6mm) two-dimensionally, our original design of the basecomponents on the waist couldnâ&#x20AC;&#x2122;t be realized. We then think of another way which is cut 3mm slits to fit the branches onto the base components on the waist.

After we made the prototype according to the new design, we found that mdf is not a suitable material for the components that sits on the waist of the body which requires many flexibility and movements due to the material limitation of mdf: not ductile and too hard.

So we further explored other materials, such as elastic band and tube along with the development of the connections between the base components and the branches to be compatible with the chracteristics of the new materials.

Original mdf waist design

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Achievable mdf waistdesign

Elastic band waist design

Upper ring: elastic band

Upper ring: elastic band

Upper ring: clear vinyl tube

Bottom ring: elastic band

Bottom ring: clear vinyl tube

Bttom ring: clear vinyl tube

Connection: fit Elastic band

Connection: fit Elastic band & Vinyl tube

Connection: fit Vinyl tube

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3.5 Prototype fabrication Week 7 | Digital Fabrications: architectural + material techniques/Lisa Iwamoto. New York: Princeton Architectural Press c2009 Development & Refinement: base components on the waist + connetions to the base component Prototypes were made each time we change our design and the implication of digital fabrication enabled rapid prototyping during the design process.

Whatâ&#x20AC;&#x2122;smore, becuase digital fabrication enables exact translation from digital model (2D) to physical prototype(3D), we can get intuitionistic and efficient feedback from the prototype and then apply alterations to further refinement of the design.

In order to ensure the feasibility of the design, fabricating and testing the physical prototype is necessary. Through the process of assembly and testing, the inconsistencies and micalculation of the initial design will be detected and revealed. These information will then be translated back to the digital model for modications and thus a better design after going throgh the design, fabricate and feedback loop.

Designing

Testing

Digital fabrication

Physical Prototype

Digital Model

Information Modification of Information Input

(Unwanted attributes in the physical prototype that requires modification of the digital model)

Feedback loop in the design process involving digital fabrication

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Inference-making for Design Solutions

Original Digital Design

Lasser cutter file

Prototype of detail

Finalised digital detail

Refined prototype detail

Finalised lasser cutter file

Refined digital detail

Refined lasser cutter file

Finalised prototype detail

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Prototype 1.0

Prototype 2.0

Prototype 3.0

Materials used:

Materials used:

Materials used:

• 3mm MDF

2X 600x900mm sheets

• 3mm MDF

1X 600x900mm sheets

• 3mm MDF

2X 600x900mm sheets

• Chicago Screws

28X

• Chicago Screws

8X

• Chicago Screws

28X

• Veil net

5m2

• Veil net

22m2

• Power net

14m2

• Power net

59m2

• 20mm elastic band

250mm long

• 20mm elastic band

250mm long

• 3mm diameter rubber tube

2X 2X

• 12mm diameter rubber tube

300mm long

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105mm long 305mm long

3.5 Prototype fabrication

Lasser cutter file

Skin & method of attachment to the branches Along with the development of the base components and the connections of them, our exploration of the materials used for the skin and the application of these fabric is progressing as well.

We found a â&#x20AC;&#x153;perfectâ&#x20AC;? fabric : Power Net White (Nylon84% + Spandex 16%) which is light-weight, semi-transparent and strechy.

This fabric is equipped with all the features we hope to have for our skin.

Lasercut fabric template

Mark fabric to template

We explored the shadow effects of the net veil in M2 and we want to take advantage of that dicovery into our skin design. We planned to add an extra layer of white net veil upon the white stretchy fabric. They are both bleached white and will blend in well with each other. However, the shadow of the white net veil will be shown on the white strechy fabric and create beautifule effect.

After we decide, the use of the material, we need to find a way to cut the fabrics into the exact shape and size as the planar surface in the digital model. Due to the limitation of materials can be cut by the lasser cutter, we need to cut the fabric by hand. So we translated the planar surface into a lasser cutter file as the template for cutting the fabric.

Successful sewing

Unsuccessful sewing

Cut fabric

After cutting the fabric, we need to do sewing. The sewing can only done by hand as the normal sewing machine can not be used for the hard branch components. We did an prototype that the fabric are rolled over the branches because the holes for stitching the fabric were too small (0.5mm) to let the needle go through and it turned out not working, as the skin can easily slide out.

So we then revised the stitching holes and suceessfully applied the sew.

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3.6 Prototype effect A 1:1 detailed prototype of the entire design is produced after several times of going through the feedback loop. So we can have a idea of the overall effect of our design in real 3D world.

The mechanism and connections are working properly as we expected.

However, several things need to be further developed: The scale of the design is not big enough to represent our idea.

Extra reinforment is needed to ensure the design sits firmly on the body while wearing it.

Folded

Expanded

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Second Skin Final Design

Second Skin Ver.3 Plan

We exaggerated the scale of our design to maximize the personal space boundaries and the expression of the emotion change of the wearer.

The connections and the mechanism system has been tested in previous prototypes and reserved in the final design.

Additional elastic band from link waist to shoulder as reinforcement to make the design more stable on the body.

Second Skin Ver.3 Elevation

Second Skin Ver.3 Elevation

Second Skin Ver.3 Isometric

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Human Skin and Bone Reflex

Receptor (skin) detects external change

Receptor (skin) transmits information to effector (bones)

Receptor (skin) transmits information to effector (bones)

Hinge

Hinge

Unwanted External Factor

Hinge

Effector (bones) produce motion aided by hinge

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Human Reflex with Second Skin

Social Territory

Social Territory Social Territory

Intimate Territory

Intimate Territory

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Fabrication Sequence

Lasercut all components

Join branch components with Chicago Screws

Lasercut fabric template

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Mark fabric to template

Cut fabric

Sew fabric onto triangles

Join branches to triangles with Chicago Screws

Reinforce triangles with aluminium tubes

Cut aluminium tubes for reinforcement

Sew shoulder strap

Insert rubber tubes through branches

Connect rubber tubes as rings using cloth tape

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Assembly Drawing

Components Legend

1

Shoulder Straps 2X 20mm wide elastic band Body Rings 2X rubber tubes

2

Hinged Branches Lasercut 3mm thick MDF 5mm deep Chicago Screws Shoulder pulley 2x rubber tubes + elastic bands

3

Triangular Members Lasercut 3mm thick MDF

4

Tensile Membrane White power net

5

Veil White 30mm wide veil net

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Assemby Drawing

to Triangular Member

to Triangular Member

Detail C 47

Second Skin Effect

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Left page clockwise: Second Skin in resting position Second Skin in action Detail of branches Detail of brancehs This page: Front view of Second Skin, resting position Front view of Second Skin, in action

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Evaluation of Module 3 Fabrication After Module 2 Design, we have learnt the time pattern of the digital fabrication process and achieved to make much more progress since we managed to contorl our time more wisely.

Through the reading Digital Fabrications: Architectural and Material Techiniques (Iwamoto 2009), sectioning, tesselating and folding is intruduced.

Sectioning: “take numerous cross sections through a formed 3D object” and then translated it to another format to communicate with the computer-aided machine. It can be used to produce both surface and structure for lightweight structure.

Sectioning is well represented in our design. In addtion to the theory, we applied it pratically and have deeper understanding and experience of the influencce it applied onto our design.

The common computerized machines involved for these kind of design process are: lasser cutter, CNC routers, water-jet & plasma cutter.

In our design, we used lasser cutter. I have realized that we it is useful to fabricate not just the prototype for the design of the second skin but also onto broader range. Many things are now able to be customized by myself through digital fabrication.

The reading also gives many examples of how these techiniques are being applied to maked the actual architectural buildings. These techniques open a new world in front of designers, makers and even customers.

The final second skin we made realized most of our expectations. While some parts still need to be fixed such as: the shoulder straps keep sliding down, the skin are not stretched enough, the branches neeed some “obstacle” to prevent falling due to the gravity. These feedback has shown the directionof oue next module to finalise our design.

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draggy skin of M3 second skin

DIGITAL DESIGN + FABRICATION 4.0 Reflection Individual Journal writing: Mo Chen 691947 Group final design adjustment: Mo Chen 691947 Vernansia Frisca Natasya 657609

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Digital model

4.0 Reflection Intro We planned to apply final adjustments before the video-taking day.

Several aspects will be refined: 1. shoulder straps 2. attachment of skin to the bone 3. restrain the structure from the influence of the gravity 4. settle the position of each branch on the waist base components

Our video will be taken with interactions between the two group members.

One person wearing the design while the other try to approach.

When the other is approaching, the wearer expand the second skin to keep safe distance between each other.

The interaction will be taken twice both frontal and lateral to show the activation of the front toso design and the side one clearly.

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M2 Second Skin

4.1 Refinement In order to prevent the branches falling downwards due to the gravity, alterations were made on the bottom components of the branch with additional parts that supports and keep the the structure on the waist when the wear is not exerting control onto the design.

M2 lasser cutter file

M3 lasser cutter file

Refined bottom component

In M2, we found the shoulder strip is always falling off from the wearerâ&#x20AC;&#x2122;s shoulder. So we add a elastic band cross on the existing shoulder straps. And elastic band is also traversed through the tube of the waist base components.

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4.1 Refinement In order to elimanate the step of adjusting the position of the branches everytime, we use cable tie to settle th eposition of the branches while one of the group member(Frisca) wearing the design to ensure the positions are all accurate and comfortable for the wearer.

We have noticed the draggy skin in M2. In order to solve this problem, the skin is sewed on to the metal reinforcement for more stretched and tensioned effect.

Cable tie applied base component

Metal tube attatched skin M2 Second skin

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M3 Second skin

Fr on ta

l

4.2 Finalised effect of second skin how it works.

La te ra l

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Evaluation of M1-M4 From M1 to M4, I experienced the full design process of the second skin. Although the design of the second skin is not same as designing a building, the design process is similar.

Following the week plan of each journal, every thing is well planned (except what happened in M2) and I always know what i am going to do and what aspects i need to improve next.

The direction of our next action is naturally revealed when we get feedback from each prototype we made. Therefore, the advantages of using digital fabrication is clearly expressed within the design process of the second skin. It provides the designer with more accurate and rapid feedback through the digital fabricated models, prototypes and even the 1:1 model. It is a good tool to lead our design to the next level.

I also noticed that digital modelling has big difference with the real physical model because of gravity and the material characteristics. So it is important for us to test as many times as possible to get the most ideal design result.

In evaluation of M1, I have mentioned that I successfully studied the fundamental mechanism system of the umbrella. But some details were slightly overlooked and influenced later design. In M3, the skin is draggy not stretched like we expected because they are noetattatched to the metal tube like what we develped in M4. This detail is actually shown in the design of the umbrella, the umbrella skin is attached to the bone at several spots by three sides.

This makes me realised, every steps of design is equally important. And details are actually determines wheather the design will be successful or not.

In M2 and M3, I worked with Frica as a team. I learned how to work as a team.

Two people are involved to create one design, there were both advantages and disavantages. We can have broader ideas on how to solve problems but also more conflict because everyone has different ideas.

While, overall we have been worked well. Because we all put our effort into making a better design. We seperated and planned our workload into different parts to take advantages of a fact that everyone has their own strong areas and weak areas. While doing our individual assigned work, we kept our communication with each other to make sure on the right track.

In module 4 reading The Third industrial Revolution (Rifkin & Macmillan), the future of digital design & making is discussed. After going through the 10 weeks of designing second skin, I feel happy to experience the process of digital fabrication through involving in both the designing and fabrication process. In the futre thereâ&#x20AC;&#x2122;s possibility that everyone even the consumers themselve will be able to get involved within the design and fabrication process to achieve the customized design they want.

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DIGITAL DESIGN + FABRICATION 5.0 Appedex Bibliography Group crediting chart

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Bibliography Cheng, R. 2008, Inside Rhinoceros 4, Clifton Park, Thmson/Delmar Learning, NY. Iwamoto, L. 2009, Digital fabrications: architectural and material techiniques, Princeton Architectural Press, New York.

Heath, A., Heath, D., & Jensen, A. 2000, 300 years of industrial design: function, form, technique, 1700-2000, Watson-Guptill, NewYork Pottmann, H., Asperl, A., Hofer, M. & Kilian, A.(eds) 2007, Surfaces that can be built from paper, in Architectural Geometry, p534-561, Bentley Institute Press.

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

Scheurer, F, and Stegling, 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, Englewood Cliffs, Prentice-Hall, N.J.

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Group crediting chart

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