Thomas Huntingford 835306 DDF M4 by Tom

DIGITAL DESIGN + FABRICATION SM1, 2016 DISTURBING CONNECTIONS Thomas Huntingford (835306) Josh + Tutorial 1

Contents 0.0 Introduction 1.0 Ideation 1.1 Object 1.2 Object + System Analysis 1.3 Sketch Model 1.4 Sketch Design Porposal 2.0 Design 2.1 Design Development Intro 2.2 Difitized + Design Proposal 2.3 Precedents 2.4 Design Proposal v.2 2.5 Prototype + Testing Effects 3.0 Fabrication 3.1 Fabrication Intro 3.2 Design Development 3.3 Prototype Optimisation 3.4 Final Prototype Development + Optimisation 3.5 Final Digital Model + Assembly Drawing 3.6 Fabrication Sequence 3.7 Completed 2nd Skin 4.0 Reflection 5.0 Appendix 5.1 Credit 5.2 Bibliography

0.0 INTRODUCTION The second skin project deals with the concept of personal space. How can it be represented? What form should it take? Is it inclusive or exclusive? This subject explores those ideas through the design and fabrication of a wearable sculpture that pertains to one of three material systems. This project will attempt to explore the â&#x20AC;&#x2DC;skin and boneâ&#x20AC;&#x2122; material system as each of our group members was assigned the party whistle as their found object which was representative of this system. Through the semester we will attempt to use the materiality of this system to realise our ideas surrounding personal space which will be manifested in a well-crafted final product. Right, Skin system material prototype.

1.1 OBJECT MEASUREMENT

Section A

The process used to measure the object consisted of using a ruler to take the dimesnions neccessary to draft the object accurately. These were then mapped onto a rough sketch of the object which was reffered to when drawing the plan, section and elevations.

As can be seen in the scanned sketches the internal and external diameters of the cylindrical portions of the object were taken as well as the distance between these diameters. The object was then drafted by simply connecting these key diameters.

Elevations

The digital model followed the measurements taken for the initial hand drawings. The model was created first by drawing and surfacing the two ends of the plastic whistle. The surfaces where then extruded with the angle of the extrusion found using trial and error. Next the spiral of the paper component was drawn using the spiral tool and then extruded at then end of the plastic whistle. The spiral then had to be joined to the whistle. This proved the most difficult

part to draw and after experimenting with multiple tools the only solution I could find involved creating 4 surfaces between the line at the top of the spiral and various points on the cyclinder. From above this resembles the object reasonably well however it does not fully cover the lower half of the cylinder. Finally the components inside the whistle, including the reed, were drawn by creating surfaces within the tube extruding them and then triming them the the correct shape.

1.2 OBJECT + SYSTEM ANALYSIS

The whistle consists of the hollow plastic mount piece, the paper tube and the wire embedded in the paper. Therefore the material system is skin and bone as the paper tube can be considered the skin of the object and the wire the bone element.When air is blown into the mout piece the small plastic reed vibrates creating the sound and the paper tube gradually unfurls. This is the interesting part of this object as the structure is not static and changes when air movement is introduced to the system. In addition to the extension of the paper tube the volume of the tube also

increases. The skin structure changes from a 2 dimensional strip to a 3 dimensional almost cylindrical object. The diagram on the right also further demonstrates the vibration of the reed. it begins to vibrate as air movement is introduced to the system but only begins to vibrate fast enough to create a tone when enough air is produced to fully extend the skin structure. Lastly the bone components of the wire recoils the paper tube extremely quickly when airflow ceases, as shown in the diagram.

1.3 SKETCH MODEL

The sketch model uses the parts of the original object to form a closed loop therefore rendering the active part of the system in a constant state of inflation or deflation. In addition this forms a sort of mobius strip i.e. a continuos loop with only one side. The right image also demonstrates that the entire sytem can be

supported by the curved skin and bone structure of the unfurled tube. Although this composition is quite simple I believe it has an interesting relationship to space and form.

To begin experimenting with the reconfiguration model I first deconstructed a single whistle in an attempt to gauge the potential of each of its parts. I first detached the plastic whistle from the skin and bone structure of the paper tube. This informed me on how this system could be manipulated to create different shapes and curves like those I used in the model. Secondly,

I pulled the wire away from the paper skin to examine it seperately. Themovement of the spring as it was coiled and uncoiled was quite interesting so I took a video of it incase I decide to use a similar effect later. Finally I cut the plastic whistle down the centre to experiment with the effect of the halves as well as to examine the inside. The final model was reached after trying

1.4 SKETCH DESIGN PROPOSALS

light / air / adjustable / pivot

SKETCH YOUR IDEA IN THIS SPACE USE PLAN, ELEVATION OR ISOMETRIC DRAWING TO HELP YOU EXPLAIN YOUR IDEA. REMEMBER: THERE IS NO BAD IDEA JUST POORLY EXECUTED ONES. YOU CAN INCLUDE ONE INSPIRATION IMAGE - THIS CAN BE YOUR PROTOTYPE/S OR CHOOSE FROM THE LIST OF PRECEDENT STUDIES ON THE LMS

Personal space in this object is changable as the swing panels respond to air movement, the boundaries of the personal space of the wearer are extended and contracted around them.

paranoia / headspace / comfort / air

This object attempts to address the paranoia of having people behind the wearer as well as infront. Additionally freedom of movement has been taken into account.

stretch

spring

move-

What is your idea? [Maximum 5 key

This design addresses personal space as a series of specific points which branch out from the body. The elastic skin surfaces also suggests that personal space can be extended into.

Analysis In this module, we were required to observe and analyse our given object in order to abstract the rules of the material system and accurately document it. Unfortunately, having joined the subject late my work in this section was rushed and thus my analysis and drawings of my assigned object suffered. However, I was able to recognise the value in evaluating objects and pieces of design in order to understand the processes behind them as described in the readings. In addition, this module required the re-configuration of our assigned object. My reconfiguration was somewhat underdeveloped in that it did not explore the material system particularly well. Hence when approaching my sketch designs there was no clear relation between my designs and my reconfigured object. This was partially due to my limited engagement with the original object and therefore I felt more comfortable exploring the material system and the properties of the party whistle through my designs than the reconfiguration.

2.0 Design Thomas Huntingford Natalie Keynton Brett Mcoll 2.1 Intro My sketch designs in module 1 explored the use of the coiled spring form as a bone structure to create volume around the wearer. The dynamic forms were solidified into static structural elements due to considerations of controlling the curved forms and methods of potential construction. This aspect was carried forward into module 2 as one of the key formal elements of our design moving forward. However at this stage the curves were totally arbitrary having only been inspired by the movement of the coiled wire and not developed any further.

SKETCH DESIGNS SKETCH DESIGN 1

SKETCH DESIGN 2

SKETCH DESIGN 3

Through the exploration of the interaction of the skin structure and the bone assembly Natalie’s preliminary sketch design focused on how the skin structure could be used to control and move the bones. The proposed piece was to be worn on the body like spikes that would be activated through the user pulling on a skin structure to increase the volume around themselves. This volume was created using the rigid bone structure. The fluctuating personal space could therefore be controlled by the wearer depending on their personal comfort levels and situation.

Brett’s sketch design, focused around creating a barrier between an individual’s own personal space, and the world around them. This would be achieved by removing all of the individual’s senses, and allowing them access to only the world within the design. The physical design is based around the bird masks doctors wore during the time of the black death, as this also had the idea of removing the senses of a person from the world in order to protect them. This idea of solitude and separation from everything beyond one’s personal space was carried through in Brett’s designs.

Tom’s initial design focused on the elasticity found in the skin and bone system of the party whistle with the intention of creating a sense of compression on the wearer. The skin of the design is extremely elastic meaning it can be pushed and distorted but will always returning to its original form. The bone system of the design was intended to distort the appearance of the wearer and create volume in certain areas. The property of the whistle explored here was carried through to the next stage however the bone system was adapted to also represent the properties of a spring.

Refined Sketch Model SKETCH DESIGN 1

SKETCH DESIGN 2

Brettâ&#x20AC;&#x2122;s model developed through exploring how to create volume using the skin and bone components he identified in M1.

SKETCH DESIGN 3

Tomâ&#x20AC;&#x2122;s sketch model developed by exploring the curves given by the coiled wire and skin surface from the original found object.

PERSONAL SPACE

Through a consideration of personal space as a positive and negative balance where the body became the negative space and the â&#x20AC;&#x2DC;personal space bubbleâ&#x20AC;&#x2122; the positive, our group considered how two positive areas would interact. Choosing to represent through a wearable architecture the interaction between two close friends we examined how the bubble may change and incorporate another positive space.

DESIGN 1 This first proposal builds upon Brettâ&#x20AC;&#x2122;s sketch design masking the form of the wearer and maintaing their isolation while allowing them to be directly exposed to sensory and emotional stimuli within their personal space. After conferring with others Brett modified his initial design moving away from the panel and fold system towards the skin and bone system. This modified design focused on creating a combined system, where the bones required the skin to remain upright as much as the skin needed the bone to remain structurally sound. Brettâ&#x20AC;&#x2122;s second proposl also repsonded to the joint personal space context.

Seperate Units

Doors connect magnetically

DESIGN 2

Generative model making - testing the technique. Became interested in a rigid structure as a skin system.

Interaction between skins Thinking about how it may sit on the body Maison Martin Margiela 1988

2.2 DIGITIZATION + DESIGN PROPOSAL

This proposal builds upon Tomâ&#x20AC;&#x2122;s sketch design with the bone elements translated into curves following the form of the unfurled spring of the reconfigured object. The skin was again intended to be stretched across the frame and compression the body between the framing elements. The idea of joint personal space is

also beginning to be introduced with a system of interlocking loops beginning to develop.

Interlocking of two bone structures to create joint personal space

2.3 PRECDENTS NAPKIN TABLE Concept: Connection, conversation, engagment The Napkin table by Hung Lu Chan, graduate of industrial design at Tunghai University, is focussed on the experience of two people eating together and is intended to combat the impersonal communication through technology while eating. The table connects two people via neck straps and when being worn forms a small table between the two people. The concept of personal space in this design is very interesting as the conjoined personal space of the wearers is a symbiotic relationship governed by the rules of common courtesy. Were one user to remove themselves the entire system would fail and the other would be unable to enjoy their meal thus although the physical connection is easily undone the connotations of the shared space are binding.

CATENARY POTTERY PRINTER Concept: Ordered Irregularity, The Catenary Pottery Printer is designed to create parametrically designed objects using an analogue system. The frame system has various measurements marked out so that the skin system will take a specific shape when the weight of the clay is added creating irregular forms with a very precise and regular system. The progression of our design has been inspired by the fabrication of irregular forms through a highly regulated program. In this way we attempt to emulate a seemingly disorganised form through a set of rules.

STEILNESET MEMORIAL Concept: Persecution, Life & Agression The Steilneset Memorial designed as a collaboration between Peter Zumthor and Louise Bourgeois addresses the persecution of suspected witches in the 17th century. The project is composed of two distinct parts the frame and the cocoon like skin form that hangs within it. What is interesting is the frame and the infill were designed separately with Zumthor conceiving the scaffold-like frame as a response to the ideas of life and emotion and the internal form composed by Bourgeois representing more transient ideas of burning and aggression. This is reflected in our design with the metal curving frame conveying the constant emotions surrounding personal space and the flexible skin surfaces the more personal, emotional connection to the body.

APPLICATION OF PRECEDENTS

Above: the Good Things 2 People example showed us the importance of creating an ordered system to create disordered form. Left: the napkin table influenced our thinking of the effects of our design. This ties the users together while also creating an unusual image for any passerbys.

From Catenary Potter Printer precednet examples we considered the relationship between the two systems and briefly explored different join types possible for connecting our two different materials.

DESIGN DEVELOPMENT A single unit with both male & female connections points can be mirrored to perfectly connect seemingly random forms.

Intersectng shapes Development of connections between two forms

Skin supports bone, bone supports skin

Skin

Development of skin and bone

Bone

Laser cut skin panels curve in two directions

Bone can be joined purely by the points of contact with the skin

Development joints and form

2.4 Design Proposal V.2

The final proposal explores the bone system as a seemingly irregular group of forms that reach into space as an incomplete entity which can only find balance through connection to an identical, opposing system. This is representative of personal space as a concept which inherently does not exist and is therefore incomplete when

one is alone. Furthermore, the curved skin panels form the connection to the body like infill between the cold metal structural members; a humanising element that grounds the connection of the two people onto each while obscuring and confusing the forms of the two joined bodies.

2.5 PROTOTYPING - BONE STRUCTURE

The metal bone structure was prototyped first using very small models composed of paper and wire from the found object, as shown in the sketch below, however the paper was unable to prevent the wire from coiling. The coiled wire was therfore abandoned for a bone system that was stag nant . This system was tested for its ability to interlock with similar forms on the small scale , top right, and then at full scale using aluminium rods curved by hand and held together using fabric and thread. This large prototype

tested joining the bone and skin for the first time as well as the structural capability for the skin to support the bone. It was decided that a more rigid skin would be preferable to limit the movement of the bone structure.

PROTOTYPING - METAL

Prototype 1

Prototype 2

Prototype 3

Prototype 4

Prototype 5

Prototype 6

Each of the above experimental prototypes follows a set of rules based around 2 types of curves. The first being a general curve whoâ&#x20AC;&#x2122;s variable is number and angle. And the second set being on each arm of curve 1, whose variables are the number and direction in the z axis.

Bend 1: 90 degrees 1 bend, 2 arms Bend 2: bends in opposite directions

Bend 1: 60 degrees 1 bend, 2 arms Bend 2: same direction in Z, more bends

Bend 1: 90 degrees 2 bends, 3 arms Bend 2: opposite direction in z plane

Bend 1: 30 degrees 5 bend, 6 arms Bend 2: opposite z directions, multiple bends

Bend 1: 1 bend, 2 arms Bend 2: opposite z, 1 bend in 1 arm, 2 bends in other

Bend 1: 1 bend, 2 arms Bend 2: same z, 1 bend in 1 arm, 2 bends in other

fequalsf.com PROTOTYPING - PLYWOOD SKIN STRUCTURE

parametric kerf #2 fequalsf.com

fequalsf.com

Testing Effects

Our final M2 design created an interconnected space between two users who are locked in place by their fluctuating personal spaces. This creates a sense of connection between the two, but for onlookers the feeling may be one of discomfort at witnessing two people bound in such a way.

Analysis In this module, our group was unable to develop a clear direction early on as each member continued to develop their individual proposal in relation to the concept of joint personal space that we developed. Eventually it was decided that the curved metal rod bone system and the semi-rigid skin panels from my and Natalieâ&#x20AC;&#x2122;s sketch designs would be carried forward. Unfortunately, due to our prior lack of direction the final proposal was quite underdeveloped. The curvilinear forms of the bone system had very little formal justification and therefore appeared arbitrary. The panels were also intuitively placed within the model with no system to dictate their location and the design at this stage consisted of two interlocking pieces however we had not developed a system that would enable this connection to occur. What out group did well in this module however was material testing. Although we had no justification for the curves of the bone structure we did develop a system which we later used to map the curves in each axis. Furthermore, we experimented with the materials and kerfing techniques which were refined only somewhat for our final model.

3.0 FABRICATION Thomas Huntingford Natalie Keynton Brett Mcoll 3.1 Intro Following module 2 our group had developed a concept for personal space and a material palette for our design which we had already begun prototyping. However, the formal composition of our design had yet to be decided upon. Module three required the justification of both the skin component of the kerfed panels and the bone system of the curved aluminium rods. Furthermore, we would be required to develop a method for fabrication of the model which would result in a structure capable of spanning between two people.

POSITIVE AND NEGATIVE PERSONAL SPACE

Our consideration of personal space was informed with the view that the concept of personal space represents both positive and negative space. In this case, the body would represent negative space, while the bubble would become positive space. The line between the body and the personal space bubble is clearly defined. However, when this positive space comes into contact with another positive personal space, how would these two react? We considered the flux of such spaces through diagrams and this ultimately helped to inform our form. In order to help focus our design we also chose to consider personal space through the particular scenario of two close friends meeting. In this situation the friends may shake hands or hug and as they meet and come into contact with one another their personal space bubble would change and fluctuate to accommodate the other. We found this particularly interesting and explored this further through form finding.

3.2 Design Development

Our resolved form plays on the idea of a hug. We imagined how two friends would greet each other and simulated the hug action by branching one arm up and over the shoulder, extending across to meet the other person. For our model, two people would wear identical but mirrored systems so that the hug would link over the shoulders and bind the wearers in place reinforcing our personal space concepts of connection and flux.

Resolved form

CONNECTION TO BODY Brett explored how the cantilevered structure could be attached to the body. He experimented with straps to hold a base rod in place and also with magnets to consider the connection between the two systems. We also considered a fabric sleeve and leather binding straps but felt that none of these solutions were appropriate or offered a quality solution. We would also be introducing another material group which may have disallowed a cohesive and aesthetic model.

DEVELOPMENT OF NODES Sketch model

More developed model

Consideration of criteria etc.

Weave 1

Weave with tabs

Other connection

Materiality

Fabrication

Aesthetic

Effects

Efficiency

Overall

Overall 51

WEEK 6 READING ANALYSIS Architecture in the Digital Age: Branko

PAUSE & REFLECT

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

With the recent rise in popularity of digital fabrication, multiple different methods of production have been created, improved upon, or refined. These fabrication techniques are grouped under three main categories: additive, subtractive, and formative fabrication. Additive fabrication is the process of adding components or materials in layers to create a design from a digital model. Examples of this are 3D printers, which have become cheaper over time. There are a range of these printers. Some work with melted plastic in layers to create rough three-dimensional forms, whilst others use layers of powder and glue to produce a complicated and finalised sculpture. Subtractive fabrication is the opposite of additive fabrication, as rather than adding onto previous work to create a model, machines are removing parts to create a physical model from a computer. An example of such a method of fabrication includes a machines such as a Computer Numerical Controlled Router, more commonly known as a CNC Router. This router will remove sections of a material, typically wood, and can produce a wide range of forms based on the type of router. Simple CNC routers work only in two directions, only cutting the surface of a material. By adding a third direction to the router, the machine can raise and lower the height of the drill bit. A five-axis CNC router can move in all directions, and can easily produce complex models based on a computerised design. Other subtractive fabrication techniques includes Laser Cutting, which uses a high powered laser to burn through materials, and Water Cutting, which uses a highly pressurised stream of water mixed with additives to cut through any material. These two techniques work in similar ways, and can only work on a surface of an object. The last method, formative fabrication, is unlike the other two processes. Rather than removing or adding to an existing object, this process merely modifies and bends the existing material. An example of this is bending steel rods or plates with robotic arms into regular forms and designs. Alternatively, heat, water, or steam can be used to bend materials that would otherwise wouldn’t into new forms. An example of this is the process of hot rolling steel bars into steel I-beams in factories. Of the fabrication methods, this method is possibly the most commonly used.

For this design, the main digital fabrication method used was subtractive fabrication. This can be seen in the MDF panels on the design, which were created by uploading a custom designed pattern to the laser cutter for printing. Subtractive fabrication was also used in the creation of the nodes which connect the rods together, as a simple router was used to drill into the wood. Although only subtractive fabrication was used, it would be possible to use additive and formative fabrication in this design. The wooden nodes could easily be replaced by customised, 3D printed parts, and the steel rods could have been bent using a robotic system, rather than by hand. How does the fabrication process and strategy affect your second skin project? Digital fabrication affects the design and development of this second skin project in a vast number of ways. Firstly, it can assist in making prototyping simpler. By designing an idea and printing or cutting it out mechanically, it allows one to see if the design will work realistically. It also allows for the idea to be shown to others to assist with explanation. However, the main benefit of digital fabrication is the result. Digital fabrication can result in creating designs and shapes which would have been all but impossible or impractical to by hand. It also allows for the computer to control the exact size and shape of the elements being created, reducing the risk of an error being performed. These processes also allow existing materials to be used in new and interesting ways, while still retaining their basic functionality and their materiality. Digital fabrication also has the ability to fabricated “mass-produce one-off” designs in a process described by Kolarevic as “masscustomisation”. This process allows for a series of similar, yet distinctively unique designs to be fabricated quickly and simply. An example of this is the wooden panels seen in this second skin project, which are all similar in design, yet unique with custom triangle based patterns on each panel. These panels also showcase the previous paragraph’s statements, as by allowing a computer to control the placements of the laser, the panel is crafted to a higher quality than a human can achieve with a blade. The panelling design also allows for the MDF board, which is a rigid material, to bend and twist, whilst still maintaining the basic strength and properties of the material. Time is also affected by the use of digital fabrication. As these processes are practically fully automated, this allows for other tasks

to be accomplished at the same time, allowing for an improved and productive workflow. This automation allows for complex designs to be completed quickly, and machines can be programmed to run overnight, allowing for lengthy waits in production to be mitigated. However, the one downside to digital fabrication is the cost. Although the prices for these processes have decreased over time, they are still expensive, and so fabricating digitally needs to be performed selectively, so that a budget is not spent on unnecessary processes.

WEEK 7 READING ANALYSIS Digital Fabrication: Lisa iwamoto Describe one aspect of the recent shift in the use of digital technology from design to fabrication. Digital technology has created a dramatic shift in the way society transfers ideas from a pure design into a fabricated model. One of the largest aspects of this shift is the size and scale that designers can work with. Previously, if designers wished to fabricate a large design, or if architects wished to design a house, they would often have to outsource the actual fabrication. With the advent of a widespread use of computerised processes and fabrication, it is easier for these design companies and architects to fabricate their own designs. Previously, this would be small scale production only, maybe a prototype model or a few finalised products. However, this scale is now increasing. This can be seen in many of the works depicted in Lisa Iwamoto’s article, such as “Mafoonbey”, which was designed on computer and then had “720…sheets…cut…using a computer-controlled cutter”. Laser cutters are also used by Facit Homes, a company that uses these cutters to “fabricate a bespoke home on-site”. By simply supplying the material and the machines to laser cut panels into the correct size and shape to simply erect a single story house, designers are using these digital fabrication technologies to increase the scale they can design and fabricate. Referencing from the lectures and readings, what is the implication of digital fabrication on your design?

Digital fabrication allows for a wide variety of techniques and materials to be incorporated into the second skin project. However, digital fabrication also implies that the entire design may not even need to be prototyped or even assembled by hand. All the various digital technologies that have been introduced throughout the lectures and the readings, such as the CNC Router, or the 3D printer, are almost fully automated, and require no assistance in the fabrication process unless something goes wrong. Future improvements of technology can also remove the assembly process by programming robots to assemble the final model. This idea can be seen in a video shown during a lecture, wherein a number of drones were programmed to follow a predetermined path to create a floating sculpture out of string. This idea could mean that it would be entirely possible and plausible to be able to create intricate, highly complex designs on a computer, and then receive the finished product without having to assemble or participate in

Photo of fabrication process

REFLECTION ON READINGS AND DIGITAL FABRICATION PROCESSES These readings encouraged us to reflect upon how we would actually go about fabricating our object. We came to the realisation that our design may not be the most easy to fabricate due to the randomness of the curves and would therefore also be difficult to model in the computer. We would have to consider how we can use digital techniques to enhance our design and also assist us in building it. There is the possibility for us to develop some standardised nodes which can be 3D printed and also for us to arrange the curves through a digital design so that we can assess form before fabrication. If we had the time and the skills we could also use the robots to bend the aluminum rods so that they would all b e uniform.

REFLECTION

We feel like our project has come to a stand still. We are encountering several problems including how to connect a cantilevered structure to the body. We also feel that our joint remains unresolved as we do not like the aesthetics of our chosen method. Our Prototype 1 works okay at a small scale however, we foresee major issues down the track. We are unsure that the structure will be able to self-support. Overall we are just feeling underwhelmed by our current design path. Perhaps this is due to the lack of digital design processes so far in our design journey. We need to consider the role of digital fabrication within our design. The aluminum rods lend themselves to being bent by the robots, however as our skill set is not great enough for this yet, we are better off bending them by hand. But then we must also produced a standardised curve. There is the possibility for some kind of 3D printed joint, and the panels must also be laser cut. We have found though that the design process is much more fluid for this particular project through quick ideation sketches and prototyping. Different projects lend themselves to different design generation methods. We felt that our particular project was easier to explore during more traditional design methods due to the undulating, random curves. However, as we look around to see the projects our classmates are working on we can understand that some projects would indeed offer greater opportunities through digital explorations. It is always important to test your materials, but as we have been working with the same materials from the beginning and testing their limits we felt that we needed less material testing then some of the other groups. It is important to remember that while digital design and

WHERE TO NEXT? So where to next? To help us overcome our block we decided to look back to our main precedent example - that of the napkin table and to consider what we liked the most about our design and what we were trying to achieve. We decided that what we liked the most was the complex mass of undulating curves. We also rethought the desired effects: we aim to create an experience for the viewer, much like any piece of art. To achieve this we will draw focus away from the experience of the user and project it back out to the viewer. In doing so, we want to create an emotional response of discomfort. This would be created through observing two people in the surreal experience of being physically and intimately joined. With our objects now set clearly we thought it would be useful to reconsider of stance on personal space. We thought again about the concept of flux and change but through the different lens of creating a discomforting visual.

REDEFINING PERSONAL SPACE Photo Tom

Photo Tom

Photo tom and nat

We began exploring how when two personal spaces come together and join there still exists another undefined line of proximity which, when broken, creates a sense of discomfort for the models. We also considered how a viewer would feel when observing two people whose personal space bubbles have combined and joined. This only creates perhaps a mild discomfort, but when emphasized through creating a physical connection it augments the sense of discomfort for the observer.

3.3 PROTOTYPE OPTIMISATION Photo of one of our prototypes up close

JOINT DEVELOPMENT

Photo

Initial concept

Photo of all the joints together

Materiality We felt that the timber opposed and complimented the metal rods nicely. It felt like a warmer touch to the metal which felt cool and binding. We feel that this emphasizes the human part of our concept - the human connection.

Development of types

Photo

Addition of slot

Photo

Clip addition

FORM DEVELOPMENT AND REFINEMENT

In order to achieve our new effect we decided to shift slightly the form of our design. We opted for a single structure which would connect and bind the two wearerâ&#x20AC;&#x2122;s in place. In doing this, the effect created for the viewer is reinforced: witnessing two people intimately connected and locked in place so that it is difficult to move away. They are indeed forced to stay together once the structure has been placed on and around the body. This creates a sense of unease and discomfort for the viewer, reinforcing our concept of personal space.

3.4 FINAL PROTOTYPE DEVELOPMENT + OPTIMISATION

Panel Experimentation The final arrangment of the panels within the bone structure of the project was determined through physical experimentation. This was conducted first in card and paper and later with the various panels that had been lazer cut with differing kerfing patterns in order to observe the effect. The final arrangment involved the placement of panels onto the â&#x20AC;&#x2DC;hugâ&#x20AC;&#x2122; curves in order to emphasise the human qualities of connection. In addition the panels form a cohesive ribbon through the model providing visual continuity and connection.

3.5 FINAL DIGITAL MODEL + ASSEMBLEY DRAWING

We were able to transfer the angled curves that we found using an analysis of the hugs and of our wire precedent into Rhino. From here, we created the radius based on their classification as a hug curve or wire curve. We then piped these curves and combined them in an additive process to generate our 3 final curves we would use to fabricate our model. We assembled these together in a module of 3 that could be easily replicated to assist in the construction of our system.

ASSEMBLY

PANEL DEVELOPMENT AND REFINEMENT Drawing of looking at areas of most open against closed overlaying of two drawings. + Defining attractor points

One area of feedback from our M2 was that the triangulated panels looked violent as if they were trying to protect the user. This wasnâ&#x20AC;&#x2122;t our intention at all and so we decided to reconsider the form of our panels. We looked at several options before deciding on a long strip. This long strip can be attached to any of the curves to emphasize their flexibility. We have chosen to add the panels to the hug curves, with an opening gradient dependent on their location, as the hug curves conceptually speak to the notion of a human connection. On the left we also quickly tested how an overlapping mesh of triangulated patterns with varying density would work when overlap. What we found was that at the areas of the greatest overlap: in-between the chests, even the smallest triangles create the effect of increased density. This influenced how we specified the density or openness of our triangulated pattern of our panels. We simulated 2 attractor points on the chest of each wearer and also in a central point between them. In this way, the place of greatest overlap would be the most transparent but still create the impression of density.

KERFING

FINAL PROPOSAL Our final proposal for the second skin project involves a series of modulated wire curves which symbolize human connection and fluctuating personal space which is reinforced using curved MDF strips. These strips add integrity to our design as they reflect the angle of the curves and well as selectively reinforcing the hug curves. They add complexity to our design through a change in material, yet also harmonize as they mimic in colour and texture the nodes.

3.6 FABRICATION SEQUENCE Image of all the curves we need from rhino

Curve 1 Curve 2 68° 180°

Curve 3 153°

Curve 4 109°

Curve 5 87°

Curve 6 43°

Curve 7 91°

This initial joint type we tried was unfortunately unsuccessful as shown in the photos. It did not keep the curve of the metal and bent it straight away. It seemed much easier for us to simply laser cut a jig and manually bend the curves around their set angles.

Fabrication photo

Fabrication photo of second jig

This second jig worked much better. We were able to efficiently program the curves and cut the panels. The jig also worked very well. Overall it was a much better solution than the one first tested as it used fewer materials, was easier and cheaper to cut than the CNC milling would have been and saved us time. It was also easy to put together.

Photo of bending metal on curves

Photo of curved metal rods

FABRICATION SEQUENCE

3.7 COMPLETED SECOND SKIN

Analysis Following module 2 I was very unsatisfied with our model as it was moving in the direction of simply representing a hug which I considered to be a weak and obvious interpretation of joint personal space. After voicing my concerns and raising the issue of the emotional effect of our wearable sculpture on the beholder rather than the wearer we started a discussion on whether to pursue the two-piece proposal or a single object that locked two people together. After coming to the consensus that a single joining object created a more powerful emotional response in the onlooker, the curves of the bone structure were given form through the analysis of an interlocking metal puzzle and the measuring of the curves of an arm when going to hug another person. The overall form was resolved through a combination of digital and physical modelling. As mentioned by Charny in Thinking Through Making it is sometimes necessary to begin making an object to discover its formal qualities. This was relevant to our group as once we began to develop ways in which our ideas could be realised did we arrive at a final design. Once the bends had been applied to the aluminium rods, using the jigs that created through experimenting with fabrication techniques, they were arranged into a three-part module. This module was modelled, copied and repeated to span between the two people and achieve the desired visual affect. Through the readings and the deans lecture that Natalie and I attended we determined that were they available to us the model could be more accurately and easily fabricated using digital techniques such as using robots to bend the aluminium rods. Furthermore, the panels were resolved through experimentation and a final arrangement was decided upon whereby the panels would be placed on the curves derived from the hug in order to emphasise the human quality of joint personal space. They also formed a continuous ribbon through the mass of curves further adding to the sense of connection.

4.0 REFLECTION I have found this subject to be an interesting and valuable learning experience. In module 1 there was a clearly prescribed design process to follow involving the evaluation of the found object and materials system, the reimagining of this material system and then the quick generation of ideas from this reconfiguration. However, unfortunately due to my late entry to the subject I did not understand the logical order of this process at the time and was unable to fully engage with the tasks due to the time constraints. The exploration of personal space was one of the aspects of the subject that I found most interesting. I found it to be a very stimulating brief that was relatively open but also placed logical constraints on the design such that it needed to represent a volume. Based on Sommerâ&#x20AC;&#x2122;s ideas around personal space our group concluded that personal space is either infinite or does not exist when a person is alone. Therefore, we developed our concept to encompass two people and explore the peculiar spectacle of witnessing two people share personal space. Module 3 was in my opinion the most valuable in terms of finalisation of our design and resolving of challenges related to group work and decision making. After module 2 there were mixed feelings about the direction in which our design was heading, that of a two-piece object that would connect two people. Eventually, consensus was reached that not only was it going to be very difficult to join two pieces convincingly but also that to look at two people being forcefully joined and unable to simply detach themselves from each other was much more powerful than a simple hug. I also found in this module the importance of justifying every design decision to avoid an arbitrary result, something we were unable to do in module 2. Additionally, the process of fabricating an object was highly instructive as both the digital methods and physical making of our piece helped give it formal qualities.

Module 4 was an interesting experience for me as I had never done any studio photography before and although it was very limited due to the high number of projects I think it will prove a useful experience for future projects. The lectures and readings in this subject were useful and interesting as the ideas surrounding personal space, craft and fabrication techniques ran in parallel with our own discoveries as we developed our project. Many of the readings and lectures including the deans lecture by Achim Menges seemed to present ideas and techniques that were somewhat out of our reach in this subject however this I think pushed us to do more with the facilities that we do have. Our final object I believe was relatively successful and I believe it came close to achieving the high standards set by this subject. Were it to be improved I think the main issue to resolve would be its relevance to the material system. Given the opportunity I think the design could be resolved in such a way that both the skin and bone structures were structural which would define it more clearly within the skin and bone material system.

5.0 APPENDIX 5.1 Credit CREDITS Page Cover

Drawings

Computation

Model Fabrication

Model Assembly

Photography r

Writing

Graphic Design

Drawings

Computation

Model Fabrication

Model Assembly

Photography

Graphic Design

Writing

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14 16

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21 22

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42 43

88 89

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r Thomas Natalie Keynton Brett Mcoll

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Page Cover

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5.2 BIBLIOGRAPHY Charny, D. 2010. Thinking Though Making. Victoria and Albert Museum. London Good things 2 people, 2017, Catenary Pottery Printer, photograph, etrieved from http://www.gt2p.com/Abierto-de-Diseno-Mexico Hung Lu, Chan, 2014, Napkin table, Design Boom, photograph, retrieved from http://www.designboom.com/design/napkin-portable-diningtable-for-two-05-23-2014/ Sommer, R. 1969. Personal space: the behavioral basis of design. Englewood Cliffs: Prentice-Hall Zumthor, P. & Bourgeois, L, 2011, Steilenest Memorial â&#x20AC;&#x201C; front view, photograph, retrieved from http://www.archdaily.com.br/br/778882/arquivopritzker Zumthor, P. & Bourgeois, L, 2011, Steilenest Memorial â&#x20AC;&#x201C; side view, photograph, retrieved from http://www.archdaily.com/213222/steilnesetmemorial-peter-zumthor-and-louise-bourgeois-photographed-by-andrew-meredith/a4544443