DIGITAL DESIGN & FABRICATION SM1 2017
M2 JOURNAL - DESIGN
Sam Xie
833508 Tutor Group 7 with Amanda
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Sketch Design Development
v1 development
v2 development
Refined Sketch Model Experimentation
Oversized folds - gives more body with fewer folds, soft look
This is interesting because it combines rigid folds with soft ones in the same piece
Soft, irregular folds
There are two panels here we could do a similar thing if we wanted to layer hard panels with soft ones
We could do something like this use a rigid folding structure on the shoulder with softer folds elsewhere - a hybrid approach
The fabric folding and experimentation that was first suggested by our beloved tutor Amanda was extremely important to spearheading our development into the realm of aspiration and wild designs. The hands-on experience was essential to the design development of our following two initial sketches, and also the final sketches that still drew upon the initial experimentation that was done at this early stage.
Using really thin folds/rolls might produce a similar effect - soft-looking but somehwat aggressive at the same time
In comparison to our re-configured object in M1, these sketch models and prototypes were more in terms of idea generation as the physicality of folding, playing around can have a sense of learning that I believe what other could not have been done with: A. paper materials that was done before-hand and B. a too literal re-configured object that are too constricted within the bounds of what’s already available.
This is also a hyprid design - we could imitate this and put the pleat-like harder folds on the shoulders and the softer ones on the neck etc.
The Beginning
Because we had a variety of fabrics (more than what is actually shown here), it allowed us to have a feel of what is available in the market and possibilities there were... In which we realised, it is limitless. v1 development
v2 development
This further encouraged us to think beyond the bounds of what already exists and break boundaries of the typical paper solid folds.
Because of our team has derived from the unique system of fabric and non-solid folds, we thought it was appropriate to further explore aspects of the design in which we can pursue. We began by first researching and drawing inspiration from previous examples, writing down what we liked and what we did not. We then incorporated these designs into our own experiments that we did with fabrics. The fabric folding that we practiced allowed us to familiarise ourselves with what can be possible, what can look interesting and what might or might not work overall. Further along the line, we then developed some design proposals, radically different from M1 with the research that was conducted. This began as the starting point of our designs in which we would further develop later.
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2nd Skin proposed design V.1
Isometric 4
Elevation
In designing our ideas, we needed a strategy to stand out amongst others, so our solution was to develop on an asymmetrical non-solid fabric design. Our focus theme was the duality of personal space, being it can be friendly, warm and comfortable or hostile, large and threatening. Both designs v1 and v2 are asymmetrical because we believed in this duality in our space (see appendix); an example being eating next to a left-handed person, while being right handed how we may become very uncomfortable. The idea generation of both designs v1 and v2 are to found on page 2 and 3.
Plan 5
2nd Skin proposed design V.2
Isometric 6
Elevation
The fan design representing the hard nature and hostility of personal space was drawn from the file design of our M1 journal (appendix 3). With this design, we wanted to further expand on the duality of personal space through variance in elements, such as the harsh repeating fans in contrast to the soft petal-like leaves of the fabric on the body. The fan designs to be angled off center outwards, to reflect the personal space bubble as well (found in appendix 2).
Plan 7
Precedent Research
Precedent applied to design
Pratt + Paper & Ralph Pucci by Pratt Institute Spanning paper folds
Influence The precedent was an interesting example of how simple materials such as paper was folded in such a way to provide volume, flow and duality. We especially loved this one as it encompasses everything we set out to accomplish from the beginning. The way a material is folded, it was able to produce volume and rigidity, essential to personal space. We needed this in our design as our fabrics were dull and floppy if there were not such folding techniques incorporated. We also thought that the silhouette that was produced is engaging, something that we also wanted to follow to avoid ‘blob-like’ models. It achieved flow, in this case we are drawn away from the body, outwards, we saw that our design lacked a sense of where to look towards, it is especially important to suggest to viewers a diverFlow
Sharp and hostile
Silhouette
Shyness
Layering
The Precedent This precedent at core was about turning the dull into something dynamic and special. Paper was turned into something dynamic by the simple method of panel and fold. It was first folded in such a way, to produce a singular, by itself, though more interesting, still rather dull. However, though this individual piece being uninspiring, is simple to make and forms the building blocks of an infinite amount of possibilities that can be exciting and intelligent. The way that each piece was placed gave way to the structure and effect that the material system (panel and fold) provides. Its essence lies in the combined effect of how it was paneled, achieving volume, flow and duality. We extrapolated these themes that we saw in this precedent onto our own designs, further explained in the next page.
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sion or an easy path to follow, also important to the psychology of personal space. Finally, it also achieved duality, something that was our focus. The needle-like structures when viewed from the tip are hostile, dark and threatening. Yet when viewed as they are facing away, they seem vulnerable and shy, comfortable almost, and certainly less sharp, soft even. We craved this design aspects and needed to incorporate this to our design.
Application The inspiration of such silhouette and flow gave way to a redesign in our own system. Starting with a silhouette and direction of flow, we iterated through rough sketches and ways we could re-layer our design to better fit those two needs. Some sketches worked and some didn’t, drawing on the successful aspects, we were able to get a rough idea of how intended to be. On the previous page (right-most image), we can see by folding paper in such a way, you are able to layer them elegantly, similarly, we borrowed this approach in the folding of fabric to also give structure, flow and volume.
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Design development - Version #1
Isometric 10
Elevation
Drawing inspiration for the precedent, we heavily focused on the flow of this design, generating an easy path for viewers’ eyes to go across. Evidently, we can see that it flows from the user’s right shoulder to the left. We also achieved greater volume than the previous design as the folds allowed to expand upwards, when previously it relied on just layering to provide volume. The Fan was too flat, and we enjoyed how the needle-like structures of the precedent flowed around the head, behind. So we altered it to twist around the back, giving a more dynamic feel, as opposed to the previous static rigid structure. Plan
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Design development - Version #2
Elevation
Right
Left
Plan 12
Back
Through consultation with our Tutor Amanda, it was suggested that the fan structure (around the head) was too harsh of a contrast and perhaps was not consistent with the rest of the design. So many sketches were made to re-design the form while maintaining a prominent silhouette. We wanted the asymmetry to be maintained, the fan to obscure vision and the mini arm band to remain for an emphasis of lesser personal space. Additions include personal space measures for the back area, being minimal (as our bubble suggests, appendix 2), but also being swept in a aesthetic fashion. The front layer was shortened to maintain a circular curvature as it swept too far before.
Isometric
Overall, we’re very pleased with the outcome of the design and the next challenge ahead is to determine methods to fabricate such design. We are, however, committed to do this design justice.
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Prototype As our design is made up of a single fold layered, we needed to do some prototyping on what materials that could the form. We specifically wanted materials that we transparent to further the duality of personal space, being that one side of the model would be more dense and opqaue than the other
Testing Effects It was found through developing the feather, it would often not have structure to stabilise itself in the region near the head (the part that fans out). Experimentation with structure of the aluminion specifically as it has reflective elements, the opposite of the transparency of the fabric. Though it looks cheap, we are still working on a method to stabilise. One proposed method is dipping the fabric in a hardening gel or to heat the fabric into it’s form before cooling, like smelting fabric.
As we said earlier, we wanted to further investigate the contrasting elements of fabric and metal. The first effects testing was the ‘specks’ of reflective material in which would fade away towards one side of the body, exposing one side to the transparency, and the other being having a sort of armor. We tested various ways to add this, from stacking to sowing and gluing.
Another proposed idea was to have a machine laser cut a mask with diamond holes, in which we could layer over the fabric and spray paint silver paint, or even glue then stick on metallic shards.
To further test the overall design of the model, we needed to have a real-life example to draw upon and to see whether it may be viable. It dispels some issues I had that it may look too messy with transparent fabrics layering on top of each other, as we can clearly see now, each layer distinctly, one over another without being too overwhelming. Again, we see the aluminum to hold the fan structure upright, in future, it may be all one piece. The aluminum also tests the reflectiveness of the material and effect. However, it does seem like the fabric masks the aluminum, making it look slightly dull. It is also the case that the aluminium, being able to bend, can give forms to the fabric in which it is wrapped around, allowing it to shape to anything, in this case, cylindrically.
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We found the above method tedious and would essentially take forever to make for our whole model, so we tested an inverse, where we could use machines to cut the metals for us, essentially the inverse of the above. Though it may be seen as too metallic.
Further investigating ways to utilise machines, we thought to have linking shards so the machine could cut the shards all at once. However, we were afraid the links would be too jarring and not elegant enough of a solution.
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Appendix
2. Personal space bubbles
1. Abstraction and Reduction Abstraction is “reducing the amount of information”. Reduction is finding the “optimal way to transport it… Rewriting the description without altering the content.” (Scheurer, F. and Stehling, H., 2011) The abstraction undertaken in module one would consist of stripping away information to make the complex form of the rose easier to understand. In my case, this was done by only sketching core components of the object, to give enough detail for the human eye to perceive it for what it is, no more, but no less. In this case, all petals were to be considered the same shape, only the scale would change. Some more abstraction was done by abstracting the shape of the petal down to triangles and squares with measurements from each other, to measure the rose, similar to Enric Miralles’ “How to lay out a croissant.” This would be rotated around the center of the rose, to form the petals. Whilst each petal is unique from each other, but this method of abstraction was necessary to provide meaningful results, which were easy to understand.
3. File design
Further abstraction was done of the stem of the rose, to plot points and create a surface from them, accuracy was lost of the original model. Reduction would primarily be the altering of the source-code of such object without changing the function. This is essentially equivalent to the re-organization of the rhino files to improve readability and understanding. Such would be renaming of layers, deletion of unnecessary control points and removing objects that are no longer of use (such as objects that were required to create another object). In my own practice, reduction was seen through normalization and refactoring. In attempt to model the rose, various methods were tried, including tracing through plan and elevation views and ‘blocking,’ which these failed attempts were scrapped and deleted in favor of more a polar approach – the rotation of petals. Redundancies such as lost curves that were used to only trim certain components were no longer needed and as such, were deleted, further reducing the final output, yet keeping the original form. 1.
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Scheurer, F. and Stehling, H. (2011): Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 (4), July, pp. 70-79.
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