ENVS10008: Virtual Environments: Final Submission by Tony Duong

VIRTUAL ENVIRONMENTS SEMESTER 2/2013 GROUP 7

635890

TONY DUONG

IDEATION_MEASURED DRAWINGS 01

02

All measurements were taken at the I had photographed the object in designated reference point orthographic views to get the sense with a measuring tape. This techof the shape. nique was adopted from the first lecture (Loh 2013).

03

I then recorded adequate measurements in order to produce my drawing seen in the next page (Jensen 2000).

04

120

6

250

385

125

Once recorded, they were drawn onto a sketchpad to its appropiate scale and proportions.

Measurements are in mm. This allowed me to provide some detail and accuracy in the Rhino model.

05

Drawing from a reference image

Rhino Model

IDEATION_MEASURED DRAWINGS

Drawing from a reference image made the process easier to sketch the outside of the expanable folder.

I also based my model off a reference point in the same position as in step 1 to 3.

The handle was developed using the ‘Sweep2 rails’ command in Rhino.

The folders were developed by looking closely at the material logic explained in the next page.

IDEATION_PANEL AND FOLD SYSTEM LOGIC

Based on Miralles’(1994) reading, I tried to highlight the key areas of the material system. Thereby, I decided to concentrate on the folders alone.

The folds were created by a series of mountain and valley fold techniques in origami. Similar to an accordian, the folds can be compressed when pushed from both sides, allowing the object to shirnk. Conversely, to expand the object can be done by pulling the sides apart (refer to Fig.1).

Fig. 1 | Fold movement demonstration

Sheets of paper were slotted in between each cusp point, which enabled it to follow with the fold system.

The folder is a connected system.

Fig. 2 shows that by adding a mountain and valley fold, it allows the bottom folded sheet to compress and expand in a similar manner to the sides.

Fig. 2 | Side view: Bottom of folder

IDEATION_ IDEAS ADDRESSING PERSONAL SPACE

SELF DEFENCE

I want to relate some concepts I learnt in karate with the concepts of personal space and critical distance presented in Sommer’s (1969,p.27) reading.

Karate helps you to gain self awareness. It teaches the person to judge distance and self defend against people intruding your ‘personal space.’ Therefore, I wish to incorporate the twisting blow from karate into the design to show a basic motion that defends against threats.

‘How karate works.’ (2001)

HOBERMAN DYNAMICS

I had also drawn inspiration from the Hoberman’s sphere video from the lecture as it highlights the importance of adaption and transformability in design. With this in mind, I found that my design would create more drama with a dynamic effect.

‘Chuck Hoberman’ n.d.

DESIGN IDEAS_DESIGN DEVELOPMENT

Rhino work, Scott Patroni 2013

All photographed by Tony Duong 2013

I was still convinced by the idea of personal space to be somewhat private and needed to be protected through self defence.

So, from looking at different systems from our group, it was necessary to allow the skin and bone to be the primary structure of the system. From then, it opened up opportunities for something dynamic which will be explained in the precedent studies.

In this Rhino model, we propose that the most vulnerable areas of our body was where we are unaware of dangers.Therefore, anything approaching from the front of the body is easily detectable and gives enough time to respond. However, from the back, it is not easily detectable and so it’s hard defend ourselves behind us.

DESIGN IDEAS_PRECEDENCE

Sketch drawings, Monica Sutisna, 2013 ‘Echida’ 2013

In this precedent study, Monica was exploring the ways animals could self protect themselves.

In this example, the echidna extend their spikes by opening up its pores. Hence, we planned to utilise some form of attackas to protect ourselves from danger.

‘Texas transformer: the armadillo’ 2012

Monica, was also interested in the armadillo. She proposed that it was able to self protect itself from hiding into its shell, but the interesting part was that it was a natural drive from the skin of the shell that allowed it to go into a ball.

Concept From this, our concept was based on the idea that our greatest offense could be defense where we would respond to threats in the instance we detect it.

Sketch drawings, Monica Sutisna, 2013

Since we needed to incorporate some dynamics to trigger a change of state into a defence position, we were interested in the idea of the umbrella mechanism. When we feel threatened, we would hit a button to deploy it.

DESIGN IDEAS_PROTOTYPE EXPERIMENTATION

Prototype 1 Folded cardboard with match sticks and tape.

It was thought that by curving the plane, similar to the behaviour of an armadillo, the spikes would deploy.

Prototype 3 The sticks were however not appealing and so it was decided to add a triangular skin incorporating the fold system. Since the plane was too flat, the fold system could not connect

Prototype 2 It was needed to create multiple spikes to protect an enlarged personal space.

Another problem with this was that it didn’t seemed mechanised.

DESIGN IDEAS_FURTHER EXPERIMENTATION

2mm x 5 mm cut

1cm x 1cm cut

2.5 cm cut

First mechanism test-use of pin joints

‘Paddle pop sticks’, Monica Sutisna, 2013 Second mechanism test drawn from the umbrella precedence.

Prototype 4 Combining the movement of the umbrella mechanism with the triangular skin retained the use of the skin and bone system as well as the fold system.

‘Prototype deployed’, Monica Sutisna, 2013 Using the umbrella mechanism was successful.

All photographed by Tony Duong (if not credited)

Most suitable cut.

DESIGN EFFECTS_PRECEDENCE FROM READING RESPONSE After viewing Heatherwick’s (2011) talk, I was most intrigued by the dynamics of the rolling bridge. The rolling bridge in the UK captivated me the most because it became purposeful when it transformed. In the video, people were surprised that it was used as a bridge.

Therefore, I was interested in our design to create a similar surprisng effect.

All photographed by Monica Sutisna 2013

‘Rolling Bridge,’ Heatherwick studios (n.d)

DESIGN EFFECTS_SKETCH DESIGN The problem with using pannelling tools is that the triangular panels, namely the spikes were converging toward the top and the bottom.

Umbrella mechanism using panelling tools

Using panneling tools again to incorporate the triangular panels.

Also, developing the umbrella mechanism is not practical with the use of pannelling tools. We realise that we wouldn’t be able to deploy the object when we start to make it after the fabrication process.

Therefore, the only way to precisely convert the information that I intend to put into Rhino is to set out the modules manually.

Roughly the look of our design in a larger scale.

FABRICATION_MAKING AND READING RESPONSE “Making is the most powerful way that we solve problems, express ideas and shape our world.” - (Charney 2012)

All photographed by Tony Duong 2013

1. “Reverse engineering” process + digital to physical (Kolarevic 2003) From module 2, I realised that the process my group was going through to develop our design was using the‘physical to digital’ technique. This is the ‘inverse of computer aided manufacturing’ also known as ‘reverse engineering’ (Kolarevic 2003).

Instead of using the scanning techniques as shown in the reading, I went back to what I learnt in measured drawings from module 1, and constantly recorded measurements of the prototypes and then converted the information to the 3D modelling software.

Areas of improvement needed

Continued tests

There are still areas of improvement needed from module 2.

Influenced by Daniel Charney’s quote, I continued to solve our problems through “making”.

Some improvements needed were: i/ changing the size of the spikes to enhance the dramatic effect. ii/ knowing how to wear the object. iii/ exploring a wide range of materials in order for the design to perform structurally and aesthetically. iv/look for ways to further deploy the spikes so that it reaches maximum elongation.

i/ Additional modules made sizes of spikes longer. Strings were attached to the arms. The use of ivory card is light weight and allows for easy deploy. The effect worked as intended but does not connect with our concept correctly.

The extension of this mechanism is horizontal, extended by the force of the arms.So we had to figure out a way to reverse the logic so that when our back arches. the extension is vertical.

FABRICATION_FURTHER EXPERIMENTATION

Reversed logic

Heatherwick (2011) often talked about a ‘line of enquiry’ and we were often trying to resolve our design issues through constantly questioning ourselves until we reached a solution. As Iwamoto (2009) explains, “making ultimately forms the design aesthetic” and therefore, it was important for us to ensure that we were making the design so that it works both structurally and aesthetically.

iiii/ and iv/ Now that the logic had been inversed. The problem now holds within the structure.

The ivory card is too weak to be used to deploy. Thus, we decided to change to plywood.

Since the logic had been inversed, the lattice became too large for Scott’s back. Therefore, we had to readjust the lattice to a suitable size so that when it deploys, there is enough room for the elongation along the back.

FABRICATION_MAKING PROCESS

All photographed and Rhino work done by Tony Duong 2013

2. Two dimensional fabrication (Kolarevic 2003)

The two cutting machines most suitable for us to use was the card cutter and the laser machine. The laser machine had many advantages over the card cutter as it could cut through more materials.

We initially utilised the card cutter to continue our prototyping. However, seeing that the cardcutting, although sometimes helpful in accurately fabricating our tests, it still caused many problems. For example the blade was blunt and often gave less clean cuts. The laser machine had many advantages over the card cutter as it could cut through more materials like plywood

Also, the laser machine provided us with cleaner and more reliable results allowing us to work more efficiently.

I learnt that the ‘design intent marries with the machine capability’ and so which machine to choose would depend on the need of the design (Iwamoto 2009).

For the long spikes

Making of strips

Laser cutters are never perfect and thus, I had to puncture the holes myself.

iii/ I continued to be influenced by Daniel Charney’s reading (2012) on the ‘power of making,’ as I constantly find new ways to solving my own design problems. Two large changes were made to the materials.

Sometimes the holes were splinter, so it was necessary to clean them with sandpaper to avoid any danger when making the product.

1. The plywood was replaced with bamboo as it was both strong and flexible.

2. The use of polypropelene replaced with ivory card. Polypropelene had many advantages because it was strong, flexible and durable.

Holes used are at 4.1 mm in diameter. This is to allow the eyelet to fit nicely later on.

Dicovering these two material choices was the essence of our success.

Our group also decided to spray paint the strips because the design effect was mainly focused on the spikes. Hence, by spray painting the bamboo black, it would blend in with the black clothing so that the spikes could stand out.

It was also important to include eyelets beacause it avoided the strips from slipping when connected with the split pins.

All photographed by Tony Duong 2013

FABRICATION_MAKING PROCESS

All photographed and Rhino work done by Tony Duong 2013

FABRICATION_ASSEMBLY PROCESS iii/ and iv/ We had arrived at a solution that the only way to wear the object was through a collar made out of seatbelt material.

3. Assembly (Kolarevic 2003)

After digital fabrication, the assembly process is the easiest to do. The only difficult part is knowing how to line up the lattice. In the reading, new technology enables machines to read information from digital codes in order to assemble the object. In my case, there is no need for automatic machines as it was easy enough to build by hand.

Therefore, using a reference image from Rhino, that is accurately measured, enabled the assembly process to be successful.

Little locks attached to belt.

As the neck moves, so does the tip of the lattice. Thereby, allowing the deploy to become successful.

Extensions with the section and profile idea.

(Not the right configuration but assembled in a similar way)

(Correct configuration)

The use of plywood had some limitations. It was uncomfortable on the back and it wasn’t very flexible.

FINAL PRODUCT

FINAL PRODUCT_GALLERY

FINAL PRODUCT_GALLERY

FINAL PARADE

REFLECTION Learning virtual environments has opened up many possiblities in design. By being exposed to digital software and 2 dimensional fabrication machines, I was able to bring my group project’s design to new heights. Without it, I think it would have taken my group longer than expected to arrive at a finalised product. However, I learnt that in this process, it never ends. From industrialisation to new technology, there has been many changes made in designs, but many were enahnced to improve the quality of the product, meaning that we are always refining it.

From module 1, I was able to reuse the measured drawing skills I had learnt and applied it to the prototyping.

I think that it’s true from Daniel Charney that there is a ‘power in making’ (2012). During the making process, I continued to experiment my design until I was satisfied with the product. A design concept does not go without it being functional and aesthetic. Therefore, I felt that through making, I was able to remove most flaws and I was able to find further solutions along the way that I hadn’t thought of.

Module 2 was helpful in getting to know the capabilities of the Rhino 3D modelling software. It was very useful, mainly because of its accuracy of reading information and translating the information into a 3 dimensional object. With traditional representations, it’s starting to fade away as new technology can bring more quality to design. Particularly for when I’m planning to do architecture next year, it is very helpful to me that I’ve been able to get some experience with 3D modelling software.

From module 3 to module 4, I had been able to work hard with my group to resolve many issues. Most of the time, it had to do with the material. Since I haven’t worked with many materials before, I was able to understand different properties between different materials. For example, I never knew that polypropelene was a perfect material for its durability and flexibility. It fitted right with the design needs. I find that in future, I’ll be able to make more informed choices as I get to know more about material properties. I knew that it was important during the fabrication process to not be restricted by choices, as I’m beginning to understand the capabilities of the resources available to me such as choosing whether to use the laser machine or the card cutter or the CNC cutter. I think that for the purposes of this subject, the laser cutter was the most appropriate because of cost reasons and design needs.

REFLECTION In spite of some risk in the design process, digital fabrication allowed me to refine the process without much limits. It was also helpful particularly during the prototyping process as there was constant tests done. Digitisation fully brings design to new heights and scales, a more thorough representational technique than traditional representations. It provides chances for refining until the product matches with design intentions. Although, design in my opinion is a never ending process and as we are constantly finetuning our designs to become a better product. In Deamer and Bernstein’s (2008) reading, they stresses the importance of design to be risk free. It is the quality of performance that dictates the quality of design. Hence, when using Rhino, I was influenced to use precision as much as possible so that when it came to making process, it could perform ‘structurally, aesthetically...’ and even ‘emotionally.’ In the end, I feel satisfied with the product and the success of its performance has been demonstrated through the parade.

REFERENCES

Charny, D “Thinking through making” In Power of Making, exhibition catalogue, 6 September 2011- 2 January 2012, V&A, South Kensington, London Heath, A, Heath, D & Jensen, A 2000, 300 years of industrial design : function, form, technique, 1700-2000 Watson-Guptill, New York, Selected Extracts Heatherwick, T (March 2011) Thomas Heatherwick: Building the Seed Cathedral [Video file] retrieved from http://www.ted.com/talks/ thomas_heatherwick.html Iwamoto, L 2009, Digital fabrications: architectural and material techniques, Princeton Architectural Press, New York, Selected Extracts Kolarevic, B, 2003 “Digital Production” in Architecture in the Digital Age - Design and Manufacturing , Spon Press, London, pp30-54 Miralles, E, Pinos, C “How to lay out a croissant” El Croquis, 49/50, pp. 240-241 Marble, S 2008 ‘Imagining Risk’ In P Bernstein, P Deamer (eds). Building the Future: Recasting Labor in Architecture/, Princeton Architectural Press, New York, pp 38-42

Sommer, R 1969, ‘ Spatial invasion’ in Sommer, R, Personal space : the behavioral basis of design, Prentice-Hall, Englewood Cliffs, N.J, pp. 26-38

Images Chuck Hoberman (n.d). Los Angeles Design Technology Forum viewed 20/10/13 from http://www.ladesigntech.org/newsletter_071211.html Echidna 2013. Fauna females viewed 20/10/13 from http://faunafemales.wikispaces.com/Echidna Texas transformer: the armadillo 2012. Texas Tall tales & Lone star Lore viewed 20/10/13 from http://lonestarlore.blogspot.com. au/2012/03/texas-transformer-armadillo.html Rolling Bridge(n.d). Heatherwick studio viewed on 26/8/13 from http://www.heatherwick.com/rolling-bridge/

Group work All other work not of my own used in this assignment has been credited towards: -Monica Sutisna -Scott Patroni