DDF Module2 journal

DIGITAL DESIGN + FABRICATION SM1, 2017 M2 JOURNAL - DESIGN

De Lester Wong , Thai Quang Bui ,Xiaojin Huang (Georgia) (796461, 842574, 834485) Joshua Russo Tutorial 5

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CONTENTS

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PERSONAL SPACE ANALYSIS

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SKETCH DESIGN DEVELOPMENT 1

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SKETCH DESIGN DEVELOPMENT 2

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REFINED SKETCH MODEL

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PROPOSED DESIGN 1

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PROPOSED DESIGN 2

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PRECEDENT RESEARCH

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PRECEDENT APPLIED TO DESIGN

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DESIGN DEVELOPMENT VERSION ONE

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PRECEDENT RESEARCH

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PRECEDENT APPLIED TO DESIGN

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DESIGN DEVELOPMENT VERSION TWO

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PROTOTYPE

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TESTING EFFECT

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REFERENCING

PERSONAL SPACE ANALYSIS Personal space can be defined as the privacy zone of an individual. Where spatial violations into the space may result in the discomfort of the individual. This self-boundary of a person is determined greatly by individual distance, or the characteristic spacing between human beings. Therefore, personal space is not an absolute figure, but rather it alters depending on the relationship between individuals in different circumstances and surroundings.

We decided to address the idea of a second skin with a design that responses to the idea of personal space in a very specific situation. Based on personal experience, our design focuses on an area of the body where spatial invasions happen quite often, which is the shoulder.

To cater the need of such personal space, concepts of protective, edgy, abstract and quirky is considered.

Personal Space Front

side

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SKETCH DESIGN DEVELOPMENT 1 The initial design was inspired by the shape that can be seen on the surface of the honeycomb lantern.

Four types of mini folding cell systems were created and their forms and behaviors were tested, both individually and as a whole composition to expand into space to create volume.

Through this exploration, different ideas started to emerge, however, a design was only selected when it responsed to the notion of personal space (which only triggered to a specific circumstance).

To avoid body interaction around the arm/shoulder, which is an invasion into personal space that is often taken for granted.

Friends and peers usually consider a nice simple pat on the arm/shoulder a friendly meeting and greeting gesture. Nevertheless, we find this area significantly vulnerable as a consequence of over familiarity. Thus, for people who dislike this kind of association, they may also attempt to be friendly and conceal their discomfort.

Therefore, the concept of a sharp and edgy second skin that can extend and protect the vulnerable area is formed.

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SKETCH DESIGN DEVELOPMENT 2 The second design was considered by focusing on the shoulder and upper back area. The shape and pattern of the design derived from experimenting with the honeycomb lantern object.

The group saw the possibility of creating volume and dimension when utitlising the lantern to create the form.

The design is formed by using multiple parts of the lantern, where parts of the lantern are to be connected through the section and profiling method seen in the rocket model used during module 1.

The end of the lantern pieces are considered to have a solid and hard base, that is capable of stabilising the structure with the internal structure.

The initial material used for the lantern is thin tissue paper, which is very light and flexible, however, the group aims for a stronger structure that is less fragile and capable of holding a bigger structure. We planned to experiment on screenboard, ivory card, high impact polystyrene (HIPS).

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REFINED SKETCH MODEL

CELL 1

CELL 2

CELL 3

CELL 4

CELL 5

The reconfigured object was created using 4 folded cells that are inspired by cell 1, which is taken directly from the honeycomb lantern and through experimenting and exploring the effects of panel and folding system.

Cell 2 is when adjustment was made, with the attempt to create different angles so that it is easier to expand 3D in to space by multiplying them.

Cell 2 allows movements in 2 directions along the folds.

Therefore, it is quite necessary in positions where movements are essential just as joints.

Multiplying this cell can create volume but the outcome might be similar to the original object.

Cell 3 is the same as cell 2 but it does not allow movements as there is a panel/surface lies along the folds.

Cell 4 is basically cell 3 that is separated into two halves .

The aim is to create diversity so that it is easier to create a more interesting form.

Lastly, cell 5 is inspired from cell 3 but some panels are removed so that it allows modifications. The reconfigured object is created by gluing these cells to create volume.

Cell 3 and 4 both uses this format.

3 cm

4 cm

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Card Board

We tested out proposed design #1 strategy by folding a cell module that is formally close to one suggested form using different types of paper-like materials with different thicknesses such as Card board, Cartridge Paper and screenboard . Modification was made in the folding patterns as all three sides of each triangles were no longer in equal lengths. However, the outcome was undesirable as they eventually form back to spherical shape.

Screen Board

We decided to tested out physically the section and profile types of connection on the modules but they make the overall structure became weaker.

Cartridge Paper

However, visually, we found the result of having one surface of the prism open on the outside of the module really interesting as it can eventually create the naturally disturbing effect to human eyes when they are stacked in a thick manner, representing many holes/extrusions.

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PROPOSED DESIGN #1 Proposed design #1 was ideally taken from sketch model #1 and further developed. We focused on the geometric aspects of the four small vfolded cells and the interactions between them. Since the main characteristics of the sketch model #1 was being sharp, edgy and free-form, the development idea for proposed design #1 is controlling the four types of cell and refining the composition to create a protective design. The structure is consist of two main parts: the seven arms wrapping around the shoulder/arm/neck acting as a second skin, and the pentagon shield at the shoulder joint connecting all the arms.

Perspective

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Front

The Arms in the structure

Pentagon Shield

Top

Back

PROPOSED DESIGN #1 Cell number 2 was used in positions where movements of the arm/shoulder joints are necessary and cell 3, 4 and 5 were mostly for purely forming volume.

We further developed the design and combine a new system into our design. The connections between cells were no longer just simply involve folding and gluing but also incorporated with section and profile connections.

A module is created by connecting four pieces of cell number four to one piece of cell number two (moving cell), and each arm is created by connecting a few modules together.

Therefore, the amplitude of the arms can be adjusted to adapt with different situations. Every connection of proposed design #1 is slotting, to incorporate with the assigned section and profile system. The connection is further demonstrated at pic 123.

Cell 2

Cell 3

Cell 5

The diamond shaped void of the paper lantern is extracted. The diamond prism is split in half and closed to form two prisms. Two different shapes, the diamond prism and the triangular prism, were used as modular units to form the more complex shape.

Using the idea from section and profiling, slots are cut into the prisms so that different pieces can notch together. Multiple diamond prisms and triangular prisms slotted together in alternate sequence forms an extending arm. Multiple arms attached to a pentagonal prism defines a three dimensional space, the personal space. The panel and fold of the triangular surfaces forms the individual modular parts, while it defines volume with sections of the volume.

When we made prototypes of this using card and paper, we realised that the slots are the weak points of the design. The structure could not hold its intended shape and often separated as the slots are not a snug fit.

Tap on the shoulder could be a friendly gesture.

However, our design is visually hostile due to the spikes of the prism, giving everyone a first impression of strong defence. Our intension is just to discourage instead of inducing fear into friends and strangers.

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PROPOSED DESIGN #2 Proposed design #2 was derived from the idea of sketch model #2 and further developed. After doing experiments with the honeycomb lantern, we were very interested in the possibility of creating volume and dimension when utilising the rotations to create the form. Therefore, the structure of the design allows a lot of modifications, which allow us to form various patterns and layers in order to emphasise on the unusual and randomness aspects.

As a whole, the composition is made out of five complex curved surfaces with different sizes, different amplitudes and transparency levels, covering the shoulder/arm/neck, acting as a second skin that focuses on the criteria of visually discouraging to avoid interactions.

Top

Perspective

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Back

Front

PROPOSED DESIGN #2

LAYER 1

The object was splitted horizontally in three.

The middle section was used to experiment on the forms by using the twisting technique.

LAYER 2 Before

LAYER 3

LAYER 4

Different layers of the model curves in its own uniquie ways. With most of them curving in two directions. The combination of twisting and bending, forms a exquisite patterns and dimension. The group saw this distincitive characteristic as another possible way of pronouncing the eccentric idea of the second skin concept around the arm. We wanted to improve this form into something that looks more bizzare.

After: Twisted Form

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PRECEDENT RESEARCH Vossoir Cloud - Iwamotoscott Architecture Vault, Shell, Folded Geometry, Triangulated Voussoir Cloud has the structural concept of a system of vaults that rely on each other to retain the compressive form. Each vault is comprised of a Delaunay tessellation that confounds the structural logics - greater cell density of connective modules, come together at the bases and at the vault edges to form ribs.

What really draw our attention to the design was the three dimensional petals or reconstituted “voussoirs” that make up the arches. In the material strategy category of Iwamotoscott Architecture’s page, the petals are described that they are formed by folding thin paperlike materials along curved seams, which is very similar to the creation method of the five cells that were used to create our first sketch model.

There are four cell types in Voussoir Cloud with zero, one, two and three curved edges. Each cell also behaves slightly different based on its size, edge conditions and position. Eventually, a specifically designed thin laminate wood was selected to create the Voussoir cells, which materially, make the flanges want to bulge out along the curved edge to make resulting concave petals become packed together.

Voussoir Cloud SCIArc 12 Gallery, Los Angeles, 2008

The overall design was created as a compressive structure. However, as we were thinking of applying this design to ours, we might not be able to represent our model using the exact type of material. Discrepancies might happen when we cannot use exact material for fabrication.

PRECEDENT APPLIED TO DESIGN After testing the methods to create volume using 4 types of folded cells mentioned in the blog on 2 different types of paper materials, we concluded that eventhough this strategy could create volume, it is very difficult to control the overall composition as the connection between cells are not controlled and tested on a more suitable computer program. Also, the materials did not give enough strength to the flanges to bulge out, which results in an unstable model.

However, drawing good aspects of the design, we really like the transparency that we discovered from the configuration which really complement our idea of a design that is visually confusing so that others do not want to encounter instead of scaring them.

Furthermore, unlike proposed design #1, this method gives a lot of space on the inside that allows much more movements for the user.

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DESIGN DEVELOPMENT #1 As our respond to personal space was re-defined and further developed, we started to move our design into a new direction. Since the final outcome is to avoid physical contact around the considered-mostly-invaded area, the visual aspect of the design must deliver the message about the user that he/she simply does not want to be touched in the zone. Therefore, we want our design to be quirky and peculiar visually so that others themselves find physical contact with the area uncomfortable, instead

Side

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Front

of having the form showing that it is dangerous to encounter with the sharp and pointy composition.

To achieve this effect, firstly we decided to modify the form, arrangement and orientation of the modules so that the overall structure look less threatening and more bizarre. Furthermore, extrusions were made as an attempt to depict the densely perforated effect that is naturally disturbing to the human eyes.

Top

Back

DESIGN DEVELOPMENT #1 The extrusions were purposely let varied in sizes to increase the visually spontaneous aspect of the design. In addition, the extrusions allow the design to be significantly transparent as we can actually see from one side to the other. Transparency is a crucial aspect to be considered in this particular situation because it helps the design to be mysterious but also saying that the design is simply for the purpose of discomfort the master sense (vision) and it is not dangerous for them.

The digital model is quite simply to be represented by just testing the 2D paneling tool on different shapes. In terms of movement, we try to make sure that the structure allows the user to be able to move his/her body comfortably. After extrusions were made, we wanted to expand the structure around the neck/back area as it is also a considered-mostly-violated space and to make the whole design attached naturally to the human body in the form of a second skin.

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Digital Weave: University of California, Berkeley/ Lisa Iwamoto, 2004.

PRECEDENT RESEARCH Digital Weave Iwamotoscott Architecture Curved Surface Transparency Concertina Corrugated.

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Digital Weave was designed for the San Francisco Museum of Modern Art Contemporary Extension. Because the project was constructed to be showcased for one night only, it had to be installed and de-installed on-site in a matter of hours. Therefore, the design engages in constructional and material investigations for such a transitory condition. It can be described as a concertina-like structure that can be compressed to a fraction of the full size.

A series of woven ribs, riveted together by aluminum plates and sandwiched around an inexpensive translucent corrugated plastic sign material. They slot into the plywood floor, forming two semi-enclosed wrapped volumes in the interior of the museum. The main reason why we find Digital Weave inspirational to our design is because the structure successfully delivers the desire of creating an atmosphere larger than the installation space, which is a strategy that satisfied our respond to personal space. Even though the ribs were all fabricated digitally to a very high precision, they can be represented quite simply through familiar paper-like materials.

PRECEDENT APPLIED TO DESIGN Our aim for this task was form curves withought bending the actual object. Influenced by our prototype we saw the possible development of this idea for our design. The possiblility of creating folds and creating volume of space with small amount of material. The object was assembled together using flat and cut curved panels of various size.

They are joined together using staples, which we thought worked compatible with the paper material we used. The marerial selection was much more ductile than of the tissue paper we used in our refined model. However, thorugh the group’s discussion a stronger form of material should be applied to create a larger surface, that is more stuitable to be attached to the arm.

Relating to the second skin concept that was focused, the prominent pattern and transparent aesthetics of the created object correlated to our focused idea of building a discourage and quirky look. The group plans on further developing this idea thorugh introducing colour and buidling more layers on top of the existing object.

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DESIGN DEVELOPMENT #2 Like section and profiling, it uses few members to define its general profile or shape. Visually it would be very confusing as the holes do not align, impairing other people’s vision on the wearer’s body. This makes them think twice when they want to tap on their shoulder. It is made up of curvy profiles instead of pointed shapes, hence seem less hostile and does not give a bad message to friends who might approach them.

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Section lines of our shape is formed.

LAYER 1

The lines are lofted to create a double curved surface. This surface is the general and simplified shape of our intended shape and is used as a base.

ptGridDomainNumber command is used to create a grid of points. Then the grid points are copied and offset using the command ptOffsetGrid. This creates another grid for placement of 3D custom shape onto the surface.

Custom shape is chosen to attach onto surface using the grids as guide.

This gives limited transparency of the wearer. At different perspectives, it confuses the view of other people, discourages them to approach the user.

LAYER 2

LAYER 3

LAYER 4

LAYER 5

The base surface and grid points are removed. Then the length of the strip is varied to create a more corrugated edge. Multiple of these surfaces are stacked above each other. The openings do not align, creating more confusion for other viewers.

Custome shape and the hollow section cut to assist application of joint

In this design the team depicts a pattern of progression of curviture in the design. As the model is closer towards the arm and the upper back area it is to be more curved and bent; drawing a wider boundary for the concept of the second skin.

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PROTOTYPE In order to find the correct material, we wanted to test out two types of materials that we perceived that they could be suitable, which are polypropylene sheet and ivory card, to examine how they behave in reality, given its composite shape.

From the Rhino model, we selected the joined surface, unrolled it and labeled/numbered the strips, and finally nested into fabrication lab’s laser-cut templates for each type of material. Initially, we intended to use bolts as the joining method which ensures strong connections. While actually prototyping, we decided to use staples to connect between members to quickly form its shape.

Material: Ivory Card 290GMS

Ivory card, in contrast, is thinner, weaker, lighter and therefore, allow more flexibility and less elasticity. They could be bent and folded quite easily and the whole structure is much stronger, lighter and more stable.

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Utilising staples to secure the two panels.

Material: Polyproplyene 0.6mm

Utilising split pin to secure the two panels.

Polypropylene strips are thicker, stronger, heavier and therefore, allow more elasticity. However, in order to create the intended form, folds needed to be made and polypropylene does not behave well when it is folded. Furthermore, as can be seen in the picture, the strips had a strong tendency to come back to their original shape when pulled, which can make the whole structure unstable.

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TESTING EFFECTS

Top

Perspective Detail: Charcoal Powder

To emphasise on the unusual and peculiar characteristics of the design, we wanted to create additional external layers to the initial prototype. We put into consideration colours and textures to test the ambient effect to the human eyes. Overuse and inappropriate choice of colours and textures could easily result in an opposite and undesirable outcome to what was intended, which is visual attraction.

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Therefore, we have chosen charcoal powder, which can be sprinkled unevenly on the glue-applied surface of the prototype. The combination of the black colour with the rough and raw texture really adapt with the quirky theme. Furthermore, we used black and grey acrylic paints to spray unevenly on the surface to serve as another layer that highlight the spontaneous aspect of the design.

Detail: Charcoal Powder + Acrylic Paint +Spray Paint

REFERENCING IMAGES Page 12 16

Source http://www.iwamotoscott.com/VOUSSOIR-CLOUD http://www.iwamotoscott.com/DIGITAL-WEAVE

OTHER SOURCES Scheuer, F.and Stehling, h. (2011): Lost in Parameter Space? IAD: Architecture Design, Wiley, 81 (4), Juy, pp. 70-79.

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