Integrating ideas These three are some ideas of how Panel&fold, sectioning&profiling, and skin&bone can work together. The top left design uses the structure of sectioning and profiling while in a rectangular form for movement to expand or collapse. The folding is used to limit the size of the expansion. the top right uses section and profiling by slotting material into triangles. These triangles are then devleoped using paneling and folding technique to develop volume from folding triangles. The bottom image shows using sectioning and profiling to hold together a ruff (instead of stitching) Using this method also saves the need to stitch ona wristband.
Combined Design Ideas
These tree design ideas are combinations of me, Yicheng, and Sophias ideas. The far left design is of a coat that uses paneling&folding and skin&bone. The folding structure acts as the skin and is held together by stiff bone structures. The layout and design of each ring will be detailed later on to enforce the idea of personal space. The second design is a combination of the Havok and magnetic field design. Circular structures are around the body (either parallel or at an angle) to form different shapes around the body to enforce personal space. The third design uses the triangular grid mentioned earlier to wrap around the arm. The original idea is to grow vegetation in the grids to emphasise a person’s preference of personal space, but the vegetation can be replaced by adding or subtracting ornaments to represent personal space
Main Concept: Personal Zoning of the Model Ideas:
Different personal space zones specific to Yicheng Natural reaction to personal space Diagram of personal space
Techniques to be used:
Section and Profiling, but not just perpendicular to each other Paneling and Folding mainly for displaying ideas and creating texture Try to use representation instead of literal objects/ideas Use frame created from section&profiling and skin created from panel&fold to created a skin&bone design
Properties to explore:
Material-Wood, metal, paper, cardboard, fabric, plastic sheets Shapness/flatness- Angles, edges, shapes Strcuture- solid, liquid, frame Transparency- Opaque, transparent, coloured but see through Thickness Colour- Represent emotion, colour coding Pattern Density Texture- Fur, fake grass, metallic finish Movement- slide, expand, spread, rotate,
Personal Space spiecific to Yicheng
Red: Require complete personal space Yellow: Some personal space, friends only Green: No personal space required
Inspiration
Initial Ideation
From my perspective, alertness does not exist within the confines of personal space. I generate alertness as a reaction to sensing threat, which could take the form of either physical or psychological.
Red: Thick, Sharp/Angular, High density, Hard, Solid, Random, Harsh/Grainy Yellow: variable sizes, use of different colours, transparency, movable Green: Thin, Flexible, Smooth, Round, Soft, Holes, Organised,
When I feel the alertness I begin to consciously create a boundary between myself and the person or the object that I become alert of. I also start to protect body parts that I feel are important. For example, I am afraid of people touching my back when I felt the alertness. Therefore I would create something that would scare them off such as spikes or things they do not want to touch. As a result, the second skin is going to contain separate models based on my concept of personal space. Moreever, I also want to make the chest model elastic because I do not reject people if they want to get closer. Thus the model creates a contrast between the front and the back.
Second Design Using waterbomb fold to create a cushion on the shoulders to create an inviting personal space.
Spikes placed randomly at the back to prevent physical contact.
Tensigrity structure encloses hands but provides transparency as hands are important for conveying body language
Interlacing sections produce volume and personal space for the eyes, which is extremely sensitive
Using the flexibility of concertina fold to create a second layer on the upper torso to form a collapsable personal space
Draft Models/Prototype Back These triangular shapes are made by drawing four lines on a piece of card board, with the two outside lines being the same length. The cardbaord is then cut out and folded along the lines, joining at the two outside lines. The angles between the lines and the length of the lines determine the size, shape and angle of the pyramids In the final design, the size, shape, angle, and location of the spikes should be specific to produce detailed model
Chest
12 concertina fold pieces produce an elastic surface that will be applied to the chest area. The more fold pieces used, the greater the flexibility of the surface
Eyes
Strings in a frame produce an interlacing visual effect. It prevents objects from entering while allowing some vision. In the final design, the strings will be replaced with cardboard perpendicular to the face to produce volume. However this might create impairment with sideway vision and must be considered.
Shoulders
Waterbomb fold supported by a frame using fabric to provide a cushioned surface. The fabric becomes inviting for physical contact, while the waterbomb fold provides a barrier for the physical barrier Thicker paper/fabric for the final product, as all the creases and foldings makes the paper fragile. Probably need a large sheet of paper for the required. Maybe try underlying fabric with paper to provide support
Rhino
Module 2 Semester 2, 2013
Leo Huang, Sophia Nguyen, Alensten Yicheng Woo
Recap: Map of Yicheng’s Comfort Zones
EYES The eyes are a particularly sensitive area for Yicheng so 1 metre was the designated distance between Yicheng’s eyes and another object or person.
SHOULDERS Yicheng is comfortable with people approaching his shoulders so it was thought that 40 cm from his shoulders would be adequate.
BACK Not only is Yicheng is ticklish in the waist, he also feels that his back is vulnerable, so he doesn’t like people approaching this area. 80 cm was the minimum distance required from Yicheng’s back and waist to another object of person.
BACK OF HEAD Yicheng feels more comfortable with people approaching the back of his head than his eyes, so we decided a distance of approximately 50 cm could be used to define his comfort zone around the back of his head.
CHEST Yicheng doesn’t mind itneracting with people if they appraoch his chest. However, he still likes to show personal space to people to don’t know him so a smaller distance of 30 cm from his chest outwards was thought to be suitable.
Recap: Last Week
EYES
CHEST
BACK
Our design was loosely based on the 3 main areas of YIcheng’s body where he wanted coverage; his eyes, his chest and his back. Placing the designs based on our 3 material systems onto 3 different parts of Yicheng’s body was thought to be lacking a theme and was said to have unnatural transitions between zones of his body. So then we had to discuss ways of combining the material systems in a smoother and more coherent manner.
Deisgn by Yicheng
FRONT
BACK
Yicheng then had the idea of connecting the zones of the body to form a vest. The idea of the vest meant that the material systems would be joined and that they would be put in a more flowing, more natural shape. However, even though the zones were joined, our design still had abrupt transitions from one zone to the other so we had to discuss ways we could change the suit to make the transitions even smoother.
(We were also going to add hands but it was suggested that this would make our suit look disjointed. )
Brainstorming Courtesy of Samson Fristly, we brainstormed the requirements of the second skin so that we started thinking about how variables can create different effects. Then a set of variables that could both represent the characteristics of Yicheng’s comfort zones and show smooth transitions was listed. In this case, Samson used a triangular pyramid as his shape and transparency and coarseness of materials as his variables. We decided to stick with the idea of using sa spiky shape to defend and protect the body.
EYES Requirements: protection, masking, visibility from the inside Variables must create a threatening vibe while still allowing Yicheng to see. eg. something spiky + hard material +opaque (except for the holes which allow Yicheng to see through)
CHEST Requirements: cushioning, allows itneractions
BACK Requirements: defence, protection Variables must create something that looks and feels dangerous or repels others. eg. something spiky + odd angles + hardness of materials + opaque
Variables should create something that gives off a more neutral vibe, while still providing some protection. eg. something spiky but to a lesser extent + soft material + transparency
Final Shape of Design
FRONT BACK This shape incorporates the masking aspect needed for the eyes and the vest -like framwork needed to map out Yicheng’s comfort zones. The curves are intended to create more natrual transitions between each of the zones. The vest is made up of two different pieces, with the curves separating them being parallel to one another. This was thought to, once again, make the transitions seem more natural. The dashed lines on the shoulder indicate the transition zone. This is where the dramatic, threatening structures from the back start to become more friendly-looking on the chest.
The back is made up of one piece. The cruved line in the crossing from the underarm to the shoulder is there to indicate the end and the beginning of a transition zone. The lower back has been designated to display structures that are more dramatic and less appealing than the structures on the shoulders and the chest.
Precedent Examples
In the earlier stages of the design process, we were attracted to the Veasyble Privacy Shell because of its dynamic structure and the way that it served all the purposes in an easily understandable design. The shell seems to have been designed to not only keep people out but also to shelter and protect the people who are under it. We used this concept of defence and protection as the basis of our own design.
Spikes were suitable for our design because not only do they look dangerous, they are also easy to manipulate in terms of height and shape. The durian’s spikes are random and vary in size and shape. We thought this was a very effective way of nature to tell predators not to come near while at the same time, providing a physical representation of personal space.
Precedent Examples
Superman’s fortress of solitude was a good source of inspiration for the way we wanted to lay out the spikes. The odd angles and the intersections create an enclosed space. Although the fortress was designed to keep intruders out, it was also used as a haven and this concept is similar to what we wanted to achieve in our design.
We thought that Eric Gjerde’s Waterbomb fold would be nice to incorporate into our design because it would represent the contrasting characteristics of each of Yicheng’s main body areas. However, the idea was abandoned because the squares did not seem as approachable as we’d thought. The grid at the back of the waterbomb fold was used instead to denote a sense of flexibility and transparency and provide the constrast.
Experimenting with shapes For the final design, we looked at the uses of pointed shapes to show personal space. We started off with the generic pointy shapes: trangular pyramids, triagnlur prisms, cones, hexagonal pyramids and rectangular prisms (their corners are pretty pointy). We also looked at a few other structures as well and these included stegosaurus plates, crystalline forms, hair-follicle-like shapes and a shape based on one of the berry bushes found outside the architecture building in construction. We also combined different shapes to see if they would be effective. We placed hexagons on top of cubes and pyramids inside cubes.
Crystalline structure
Combination of different prisms and pyramids
From the top: triangular pyramid, triangular prism, hexagon on top of cube
Experimenting with shapes
We didn’t go with this idea because it would have been impractical in real life to have heavy, thick rectangular prisms hanging form your face; not to mention, that fact that it would have been very difficult and time consuming to build.
Rectangular prisms Above: Stegosaurus plates To the right: Stegosaurus platethemed suit This idea was scratched because it seemed too simplistic and although it marked personal space, it was not very dramatic and looked almost non- threatening.
Rectangular prism-based suit
Experimenting with shapes
Berry- inspired shape
These shapes were fun to brainstorm and think up designs for. However, most of them didn’t end up getting into the final design. Cone
The berry, while an interesting shape, would have been flimsy as a defence mechanism. It would also have been difficult to build and incorporate all of the material systems into the design.
Hair follicle-like structure
The hair follicle made for interesting drawing and a pretty pattern. However, building each structure and combining them in Rhino would have been a pain in the neck. Hexagonal pyramids The triangular pyramids inside the transparent rectangular prisms were scratched as it would have created a heavier workload to achieve a similar effect as a pattern with only triangular pyramids.
Triangular pyramids inside transparent rectangular prisms
Other Variables TRANSPARENCY
MATERIALS
We decided to work with holes to indicate transparency and comfort. A lack of holes would mean that Yicheng does not like to be touched or approached in that specific area.
There was never any doubt as to what would be used for the materials. Fabric wasn’t really an option as it wouldn’t be stiff enough and wood or metal would have been hard to fold and very heavy. So carboard it was!
ORGANISATION As mentioned earlier, the dashed lines indicate transition zones, meaning that this is where the drama or the intensity of the suit will gradually increase or decrease. We chose to have the pattern on Yicheng’s back be exaggerated and calm down as it reaches his chest.
SOFTNESS AND HARDNESS Again, the brainstorming session allowed us to decide that the harder and stiffer cardboard would be used to create forms on Yicheng’s back and the more flexible materials would be used on his chest area.
ANGLES, SHAPE AND SIZE DENSITY We designated a higer density of our pattern to areas that made Yicheng the most uncomfortable (back and eyes) and a lower density for the areas with which he was comfortable for people to approach (chest).
We chose randomness as the theme which would repel people from Yicheng’s back and eyes. Therefore, we decided to have varying angles, shapes and sizes of our shapes to create this effect.
Final Design BACK
FRONT MASK The mask has spikes from its sides to repel people from touching, but no spikes pointing towards the front because that would have limited Yicheng’s visibility. These triangular spikes are of slightly varied sizes and angles and are opaque.
CHEST The shapes become more unified and their sizes as well as they approach the chest. The lower front body is made up of a grid which has holes in it to show transparency and a sense of comfort. They are still a series of small spikes to show some perosnal space, however, they are uniform and not that pointy.
The lower back starts offwith varied shapes and sizes, randomly littered onto the vest’s surface. This should create a threatening vibe. As you move upwards towards the first transition zone, the shapes and sizes become a little more unified. Everything on the back is opaque and made from harder cardboard to show that Yicheng doesn’t want people to come from the back.
RHINO MODEL
FRONT
PHYSICAL MODEL
Sample of the back
Sample of the eyes
Sample of the chest