DIGITAL DESIGN + FABRICATION SM1, 2016 COMFORTING INTERPLAY WONG TSUN FUNG 814229 Joshua Russo, Group 5
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CONTENT 1.0 IDEATION
1.1 PARTY WHISTLE 1.2 ANALYSIS 1.3 VOLUME 1.4 SKETCH DESIGN PROPOSAL
2.0 DESIGN
2.1 DESIGN DEVELOPMENT INTRODUCTION 2.2 DIGITIZATION + DESIGN PROPOSAL 2.3 PRECEDENT RESEARCH 2.4 DESIGN PROPOSAL V.2 2.5 PROTOTYPE V.1+ TESTING EFFECTS
3.0 FABRICATION
3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8
FABRICATION INTRODUCTION DESIGN DEVELOPMENT & FABRICATION OF PROTOTYPE V2 DESIGN DEVELOPMENT & FABRICATION OF PROTOTYPE V3 FINAL PROTOTYPE DEVELOPMENT + OPTIMISATION FINAL DIGITAL MODEL FABRICATION SEQUENCE ASSEMBLY DRAWING COMPLETED 2ND SKIN
4.0 REFLECTION 5.0 APPENDIX CREDITS
BIBLIOGRAPHY
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0.0 INTRODUCTION BREIF: A wearable second skin is to be designed for a person to display. It defines and negotiates the boundary of personal space.
ABSTRACT: Our aim for this project is to encourage people to approach the wearer, and furthermore to solve the wearer’s struggle through interactions that the second skin defines.
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DIGITAL DESIGN + FABRICATION SM1, 2017 1.0 IDEATION
Tsun Fung, Wong
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1.1 Party Whistle
Measuring Methodology:
The party whistle is decomposed into three parts: the whistle, the tape and the blowout. Ruler is used to measure the length of each component, while tape ruler is used to measure the perimeter of the whistle.
5.5cm
1cm
5.5cm
1cm
Plan 1:1
3cm
19cm
3cm 5.5cm
1cm
Elevation 1:1
5.5cm
8
1cm
19cm
1.1 Party Whistle
Perspective
Plan
Elevation
Front
Details
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1.2 Analysis
Whistle
Tape
Blowout (Skin)
Blowout (Bone)
Function: Where air inflow as well as sound were made Material: Plastic
Function: The joint to connect the whistle and the blowout Reason: Cheap, Easy to achieve, prevent air leakage
Function: Where air outflow as well as provide visual entertainment Material: Colored Aluminum Paper
Function: To hold the blowout in shape
Reason: Waterproof, Cheap, Can be molded, light-weighted
5.5cm
1cm
Reason: Waterproof, Cheap, Flexible(Can be rolled), Colorful
Material: Metal Reason: Good shape memory, Flexible(Can be rolled)
Section 1:1
19cm
Detail Drawing 2:1 STRUCTURE:
Skin and bone structure is revealed is this object. the aluminum paper serves as the skin to provide visual entertainment, while the metal string serves as the bone to keep the skin in a rolled form. As a skin and bone structure, both parts are necessary to the system; it would be meaningless if either part serve on its own. 1cm
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1.3 Volume Sketch Model: After the exploration of party whistle’s structure, I found out that the movement of a party whistle is controlled by a thin, elastic metal wire. The metal wire intrigues me with its behavior; hence, i want to present it in the sketch model. The aim for this sketch model is to demonstrate the motion of a blowing whistle. Components of party whistles, such as the whistle and the blowouts, are used in these model to reconfigure the image of a blowing whistle. However, the thin, elastic metal string is now replaced with 1mm metal wire. The metal wire provide a much steadier frame for the blowout, and the form of a blowing party whistle is perfectly presented.
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1.4 Sketch Design Proposal
Sketch Design 1
Sketch Design 2
In bird’s world, feather is the sign of statues; the ones who has more beautiful furs deserve a higher statues. Male birds tends to attract their another half as well as declare their sovereignty by showing their furs. As they spread their wings, the sense of oppression is created which forces others to respect and stay in distance.
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Sketch Design 3
This design is a more literal expression of personal space. In greek methologies, wings of the angle represents protection and safty. As in the nature, wings are sometimes used as defensive weapons. I put these elements of wings into my design in order to show the aspect of privacy. Moreover, in the sketch design, the third wing covers the face which increase the quality of mystery when it comes to personal space.
A person’s standard to his need of personal space alter when he encounter different situations or people. Therefore, it is inappropriate to depict the need of person space in a fixed, rigid way. In this design, the statues of personal space is divided in to three levels: Relaxing, Tension and sealed. By applying skin and bone system, three status could be presented thoroughly.
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M1 REFLECTION A simple party whistle that people would not even notice when they walk pass it in a grocery store are actually composed of different material with a sophisticated system. Each material are precisely selected with various reasons. An obscure system is actually supporting the entire operation of the object. From this module I learned to observe and evaluate every detail of a product, as well as to assess and represent it accurately with the help of appropriate tools. It build my skill of observation and comprehension of different objects, and furthermore to help with my decision for the future work.
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DIGITAL DESIGN + FABRICATION SM1, 2017 2.0 DESIGN
Sim Wei Zhen, Lim Yi Xuan, Wong Si Nga, Wong Tsun Fung
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2.1 Design Development Introduction
“NO MAN IS AN ISLAND�
The concept behind our approach towards personal space is that personal space does not have to be seen from a closed off perspective but that in a person’s most vital time of need, they may open up and extend their personal space in order to allow another person into this personal space. By allowing another person to enter this space, they may be able to help overcome the struggles and issues one may face. For example, it could be two good friends having a conversation or someone struggling with social anxiety and would need to seek counselling. Hence, this echoes the idea that no man is an island and that everyone needs to allow others into their personal space at times in order to feel better. Also, a sense of
security is created seeing that one would have a person to confide in. The above two diagrams demonstrate the act of extending private space as one allows her friend to put her hand on her shoulder.
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2.2 Digitization + Design proposal v.1
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This first proposal explored the ideas of extending personal space in a way where the form wraps around the second person much like how a person would put their arm on their shoulder. This proposal displays similar workings to the refined sketch model. This idea of extending parts of the structure and wrapping it around another person was favoured by the team. However, with this proposal, there was still a question underlying whether the structure itself contained any volumetric characteristics. This is because if the structure were to be unrolled, it would seem like a flat and 2-Dimensional piece. Hence, the structure of this desing requires further consolidation.
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2.2 Digitization + Design proposal v.2
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The team also considered the use of fabric as a material and also the system of braiding which gives off the effect of someone struggling seeing that the ropes are looped around and seems complex. However, when we were trying to fabricate this proposal, we reallized that these braid strands could only hold a limited amount of self weight before gravity collapses it as fabric can be quite heavy. And, when it is braided, there is tensile forces which puts pressure on the metal wires that hold it up. Furthermore, these braids do not really demonstrate an effective volume seeing that the these strands seem rather thin.
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2.3 Precedent research
Burham Pavilion
Seeing that the bone of the structure was made out of aluminium, we thought of experimenting with using wire to replicate a similar organic and fluid form. Hence, the Burnham Pavilion inspired us to use the approach of using a malleable material to create the an organic form for the bone followed by applying a skin that gives of a light feeling on top of it. Furthermore, there are bones constructed in two directions which allow better structural stability for the pavillion. Thus, this was also something for us to keep in mind.
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11:11 by Winde Rienstra
The designer wanted to exhibit human energy in a visual sense. She wanted to explore the idea of this tension or energy that is between the human body and the garment we wear. What if the garment channelled this tension and you could see it visually? And that these points of tension are laid out in a rhytmic and proportionate manner such that if they were normal clothing, these lines would represent a static moment in which these fabric would have moved. Hence, she tries to capture the tensile relationship and energy between the human body and the garment in order to allow people to understand and feel the tensile forces of the garment.
2.4 Design proposal v.1
For this design, we took inspiration from the 11:11 and how the strings in between the bones would form a mesh as a skin and applied it to design. We wanted to create a more rigid form of design seeing that it allows the person to have a clear visual of his or her surroundings but yet because of the fact that the structure itself would have a fixed shape, there is a certain amount of fixed distance which would allow the subject to maintain a safe distance away from others. The rigidity of this form somewhat establishes a feeling towards others that they’d prefer some level of isolation but when needed to engage in a private conversation with someone, they are able to by sliding these panels towards the other person.
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2.4 Design proposal v.2 wire transparent tube thicker mesh thinner mesh
With the second version, we aimed to create a design that was more soft and organic, corresponding much like the Burnham Pavilion. The reason of a softer form was to be able to provide the subject with a sense of security. Hence, this explains why the form was to wrap around the body much like receiving a hug. The use of a tubular shape was applied to create a sense of volume and also to block certain levels of visuals for the subject. However, the material for the skin was decided to be made out of a porous or permeable material. This was so that the subject would still be able to see objects in front but not in detail. We also devised the idea of having the top part of the structure be two loops circulating around the neck area. But, this top two loops are actually one big loop and could extend out to the other person. We also thought about having a softer bone for the structure in order to give this design a bit of stretch to it.
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2.5 Prototype v.1+ Testing Effects Materials: - 2mm Metal Wire - 6mm Vinyle Tube - Gutter Mesh - Bird Netting
Skin system is tested. Gutter mesh and bird netting are stacked together to see the visual effects. Gutter mesh provide a bit rigidity, while the bird netting are softer which is better to attach the wearer.
Metal wire are stuffed into the plastic tube which serves as the bone of the whole system. Metal wire provide the stiffness, while the plastic tube prevent the sharp wire poking out.
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M2 REFLECTION Physical making stimulates our creativity and inspiration. Prototypes are testing models that act as a physical representation of the design, which provide plenty of critical information that could never be discovered with imaginary. Hence, it is a necessary process of designing. However, making prototypes efficiently is a not an easy task. Scale, material representation, visual effect, texture, interaction, and so much more have to be decided before making prototypes; every aspect could hugely impact the outcome. Also, it helps us to notice the flaws or the lack of considertion during design, and more importantly to assist us to find a way to improve it. From this module, i understand the necessity of prototype, and how to make it effectively.
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DIGITAL DESIGN + FABRICATION SM1, 2017 3.0 FABRICATION
Sim Wei Zhen, Lim Yi Xuan, Wong Si Nga, Wong Tsun Fung
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3.1 Fabrication introduction In M2, our group arrived at the concept of sharing personal space. The motive behind it was to allow social engagement with friends or acquaintances in a friendly manner yet also protect one’s truly personal space and areas. The initial idea in M2 was about expanding personal space by allowing one element of the second skin to extend out to another person. However the resulted end design and form was not a found as a strong enough response towards personal space. This, we went on a different direction towards the concept of sharing personal space. We want to now invite the other person into the personal space and truly share it. This time the volume of personal space was maintained. We wanted our final design to dictate where and how a person is allowed to share personal space with them. For example by defining areas that are off limits and also how the arm can be wrapped around the body. The determined aspects from M2 were: - skin and bone system - Idea of sharing personal space - Intention of creating a soft and organic form Aspects that require further development: - material system - Form - Effects - Connection system 29
3.2 Design development & Fabrication of prototype v2
Design development From our prototype in M2, we received feedback that the tubular shape of the prototype in M2 was too regular and that the composite materials used were not comfortable on the body. Also, in form wrapping around the body hasn’t been determined. Moving forward, we decided on using stockings, stuffing and polystyrene balls as our material system. This was because the combination of these materials allowed the creation of a soft and organic form which was also comfortable on the body. We position the polystyrene balls on areas that we’re off limits such as the waist, shoulders. These areas were selected as they were considered sensitive areas and people may not feel comfortable when others put their arm around their waist and shoulder. After determining the position of the balls, the form was then created by connecting all 4 areas.
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3.3 Design development & Fabrication of prototype v3 Reading:
Danish Crafts Design and Making: Thinking Through Making/Daniel Chirany. Copenhagen: Danish Crafts c2012
Reflecting on the progress of our work thus far, our approach to the skin and bone system has been a mix of digital and physical making. Throughout our progress for M3, we have also received advice saying that we should make physical prototypes as well in order to observe the effects of our second skin in real life. Hence, this reading has provided context for why the physical making process is equally important as well. The author explained that making is to be considered as a form of experimentation and thinking and that people are starting to return to this approach in their design processes. Some may even question if this is a more practical and accessible means for innovation especially for our project, physically making allows us to understand better of the performance for our second skin. Today’s craftspeople are able to experience new applications and mutations that happen at the junction of craft, technology and human ingenuity. Thus, it becomes a hotbed for the imaginative use of skills. Finally, the author also explained that makers start to think through their skills almost unconsciously. It is a situation of intense learning. Furthermore, making is an active way of thinking and can be carried out with no particular goal in mind. This approach would also unfold new possibilities within the process. 32
We found this reading very much relatable to our work as it was through physical making which then made the prototype optimisation process much more accessible to us and that we could then see the effects behind our design decisions.
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3.4 Final Prototype development + optimisation CONNECTION SYSTEM
The aim of the connection system was to blur the appearance of the stuffed stocking as “sausage like” or “regular tubes”. Hence, we tried to create a connection system which produces minimal surfaces between the connections to make it seem that some parts grow out from the other. We did so by stitching and connecting the parts together. In order to prevent the stockings from ripping, we stitched them with very close stitches to increase the structural stability of our design. We also tried using “invisible stitch” to make the stitchings less obvious
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3.4 Final Prototype development + optimisation SEPERATION OF LAYERS
The choice of having multiple layers of stocking helped to create a moire effect and also demonstrated as a practical solution such as separating the stuffings on one layer of stocking, and polystyrene balls on another. This action allowed the balls to be positioned precisely at desired locations since there is no stuffing to obstruct it. Also, the separation of layers help prevent the stuffing from coming out of the stocking.
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3.4 Final Prototype development + optimisation Tying the Balls
We tied the polystyrene balls with hair bands to further enhance the bulging effect of the structure.
Moire Effect
We were going for the moire effect and we realized that when the nude and black stocking overlay one another this effect was achieved. Then, we introduced a mesh lining fabric which helped further enhance the moire effect when it is overlaid over the structure.
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3.4 Final Prototype development + optimisation
VISUAL AWARNESS / COLOR
We also decided to cut open some areas of the mesh lining and reveal the nude color stocking that has the bulging polystyrene balls to act as indicators for areas which are off limits and that people should take note of.
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3.5 Final Digital model
Front View
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Back View
Left View
Right View
Perspective
Isometric
Top View
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3.6 Fabrication sequence
1. Stuffing are stuffed into the first layer of stockings in order to prevent it coming out of the whole model.
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2. Second layer of stocking is wrapped around the first layer. Nude stockings are used in this layer in order to highlight certain parts of the model.
3. Polystyrene balls are stuffed into the second layer so that we can have more control over the positions of it.
4. The third layer of stocking is added in order to unify the color and shape. It also avoid the leaking of stuffing.
5. The four main parts of the model, including the left and right shoulder and the left and right waist, are stiched together.
6. An extra layer of mesh lining is then stiched onto the model in order to show the unity of the model as well as enchance the moire effect.
7. The end and the connection are finished and trimed.
8. Some part of the mesh lining are cut opened in order to emphasize the hiearchy of polystyrene balls.
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3.7 Assembly Drawing
Right Shoulder & Right Waist
Left Shoulder
Left Waist
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First Layer with Stuffing Second Layer (Nude) Polystyrene Balls
Third Layer
Finishing Layer (Mesh Lining)
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M3 REFLECTION Fabrication is the most important step of this course. Without a good fabricated product, all the designs that had been done in the early semester are basically unpractical, which end up as imaginary unworkable projects. Relatively, it is also the most difficult part of the course. Reality is always much harsher than expectation. A little inconsideration in the design would cause a series of problems during the execution. In this module, I understand how important a single detail in the design is, as it could mean a lot in the fabrication process. Moreover, I learn to overcome the problems by tring different approaches, and to keep optimizing the production repeatedly.
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3.8 Completed 2nd Skin
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4.0 Reflection The whole production process is experienced throughout the semester in this course: From idea to design, from design to fabrication, and finally from fabrication to performance. Following the weekly instruction, I step by step learn every bits of information that is required to produce a product. As a group, we gather our ideas and thoughts to make a considerate design, and finally fabricate the final project together. I have learned a lot from my groupmates in all sort of aspects, such as fabrication skills, drawing techniques and rhino model making skills. More importantly, listening to their ideas allows me to think in different perspective. It is remarkably inspirational not only to this subject, but to my entire design mindset. On the other hand, our tutors provide us tremendous critical advices that significantly pushes us from nothing form the beginning to the current status. Those suggestions are highly useful as well as thoughtprovoking. It, to a great extend, improve my design tactics and also problem solving skills. In M1, I understand the importance of materiality, detail as well as the structural system of a product. Each aspect is affecting one another; obeserving and noticing all these aspects can help to understand the object thoroughly. In M2, my design mindset is hugely enhanced due to the feedback and suggestions from tutors as well as groupmates. I learned to ultilize prototypes effectively in order to maximize the efficiency and quality of my design. In M3, I notice the challenge during the step from ideally design to an actual fabrication, and to overcome it with different methods. To sum up, this course greatly develop my design strategy, decision making skill as well as problem solving skill. It is a great course that provide an amazing opportunities to experience as a product designer, and to produce a meaningful production.
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DIGITAL DESIGN + FABRICATION SM1, 2017 5.0 APPENDIX Wong Tsun Fung
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Bibliography Winde Rienstra, 2007, “11:11”, photograph, Pinterest, view April, May, June, 2017, <https://au.pinterest.com>. Winde Rienstra, 2010, “11:11”, photograph, Pinterest, view April, May, June, 2017, <https://au.pinterest.com>. Anonymous, Burham Pavilion in construction, photograph, Pinterest, view April, May, June, 2017, <https://au.pinterest.com>. Anonymous, Burham Pavilion after construction, photograph, Google Image, view April, May, June, 2017, <https://www.google.com.au>.
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