DIGITAL DESIGN + FABRICATION SM1, 2017 THE WEAVING SKIN Xiaojin (Georgia) Huang (834485) Josh Wednesday 2:15-4:15
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CONTENTS
1.0 IDEATION 1.1 Object 1.2
Object & System Analysis
1.3 Volume 1.4
Sketch Design
1.5
Critical Analysis
2.0 DESIGN 2.1
Personal Space Analysis
2.2
Sketch Design Developments
2.3
Refine Sketch Model
2.4
Proposed Designs
2.5
Precedent Research 1
2.6
Design Development
2.7
Precedent Research 2
2.8
Design Development
2.9 Prototype 2.10
Testing Effects
2.11
M2 Critical Analysis
3.0 FABRICATION 3.1 Introduction 3.2
Design Development
3.3
Design Development & Fabrication of Prototype V.2
3.4
Reading Responses & Reading Applied to Design
3.5
Prototype Development
3.6
Prototype optimisation
3.7
Form Defining
3.8
Prototype Optimisation
3.9
Fabrication Sequence
3.10
Second Skin Final Design
3.11
Assembly Drawing
3.12 Transformation 4.0 REFLECTION 5.0 APPENDIX
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1.0 IDEATION 7
1.1 Object: Measured Drawings Elevation (closed)
Elevation (open)
Plan
Section
scale 1:5
To present the dimensions of the honeycomb lantern in the best possible way, measurements were taken when the lantern is in its unfolded form. It was possible to measure the inner structure of the lantern, which also revealed the outer structure of the lantern.
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1.1 Object: Measuring Process
1. Measuring the Diameter; End to End To assist in a precise measurment, a straight line was drawn using the length of the lanter’s diameter.
2. Drawing a centerline at the midpoint of the horizontal straight line.
3. Measure the thickness of the paper from the piece of cardboard.
4. Measure the radius of the lantern to ensure that the lantern is a perfect sphere.
5. Using the horizontal line at the top to draw a straight line towards the end of the cutout section. Measuring the length and width of the triangle created, to determine the area that has been removed.
6. Using the center line as a guideline to measure the length of the area removed.
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1.1 Object: Digital Model
Elevation (closed and closed showing thickness)
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Perspective
Elevation (open)
Plan
1.2 Object & System Analysis Forming Dimension Thin layers of paper are compressed together when the lantern is folded. As the object unfolds, different layers separate to create geometry and form. When the object fully opens up, a spherical shape is formed with repetition of various sized rhombuses.
Material Thin paper was used for the object. It is a flexible material that is very light in mass, and it is more translucent than the usual cartridge paper. The individual piece of paper has a fragile property, however, when multiple pieces are glued together, the surface it creates is more firm and geometrical.
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1.2 Objext & System Analysis The rhombuses are created by using multiple semi-circular panels.
Through gluing layers of paper together lines of curves are created that flows in two directions. These curves can be interpreted as mirrored images of one another.
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The panels are glued together according to the dashed lines. When the panels open up many four-sided shapes are then generated.
Repetitions of the curves can be clearly defined. It is also apparent that these curves illustrate the shapes and spaces in between the skins of paper.
Thus, joints within the object are created by gluing semi-circular panels together.
The rhombuses created becomes more visible as the object opens up. However, these rhombus-es defer in size having larger ones at the top and bottom, and smaller ones in the center
1.3 Volume: Sketch Model
Elevation (Front)
Elevation (Back)
Plan (Top) Plan (Bottom) A differnt type of pattern is created.
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1.3 Volume: Experimenting
The Making Process
1. Draw a straight line through the center of the object when it is closed.
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2. Using the line as a guide to cut the object. A stainly knife was used to have better and precise cuts.
3. Separate the layers of paper from its glued edge.
4. Rotate one of the flat surfaces 90 degrees upwards, securing it with paper clip.
1.4 Sketch Design #1
Detachable/ Flexible/ Wide Coverage
Implementation:
To
Top VIew
In the making of the sketch model, the top and bottom views of the model demonstrated two forms of patterns. One repeated with rhombuses, the other repetitions of rectangles. This design attempt to utilise this kind of relationship to develop a distinct outline of the defined personal space.
Rotation
Personal Space:
Perspective View
Areas covered
Relating to Personal space: Although the area of the personal space decreases when people are in a crowd. However, everyone wishes more physical space is allowed.
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1.4 Sketch Design #2 Protective/Shield/Coverage
What is your idea? [Maximum 5 key words]
Implementation: Geometrical shapes are capable of creating various types of 3D surfaces. However, the triangle is one of the most flexible shapes when comes to creating curves and edgy surfaces. Top VIew
Relating to Personal space: It is the norm for people to fear the dark, they feel like they require a sense of security and protection. Darkness blinds the eyes when individuals are no longer capable of defining what is around they start imaging, thus, fearing their surrounding. Side View
Areas covered
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1.4 Sketch Design #3 Supportive/ Protective/Adjustable/Comfort
Top VIew
Support
Implementation: Through the experimentations of the honeycomb lantern. The idea of rotation and repetition be-came very obvious and distinct. The angle that the lantern creates is very much adjustable; this design aims to explore this idea while having a function that insists in everyday living.
Relating to Personal space: The system attempts to protect the head from movement when sleeping, giving it support and It is also important for people to sleep within a boundary that can not be distracted by other.
Areas covered
Perspective View folding out
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1.5 M1 CRITICAL ANALYSIS Measuring the object:
Digitally modelling the object:
The object was analysis in various ways, it was sketched and detailed with measurements. Although taking measurements may seem unnecessary, it is a rather important process to understand and possibly discover certain properties or designs of the object. For example, through measuring the Honey Comb lantern, I was able to discover the rhombus that was cut out from the layers of semi-circle surfaces. I was able to determine why this section of the object was cut, and it was simply because
Utilising a 3D modelling software to understand the object was also quite useful. For I could briefly understand how the object was assembled. This method allowed me to discover the different ways to reproduce the object in Rhino and that there were various ways to replicate the pattern displayed on the object. (show rhino images)
it allowed the lantern to open up smoothly without the surfaces compressing and crumbling with each other (show image of what you mean). All these measurements were all recorded through drawings, which assisted in the understanding of the object because it helped emphasised on small details.
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Dissecting the object: During the process of developing my sketch model, I thought about “how to produce it using the actual object?”. This obviously meant that the object was to be distorted and destroyed for this making process. I discovered that this method was useful when determining the different possibilities of producing different shapes through using one object. I was able to understand that the honeycomb lantern was quite a flexible object, where its capacity to further stretch was restricted and controlled by the two pieces of thick card attached at the end of the tissue paper
Translating information into the actual design: When translating the information into actual designs, I found it quite simple to come up with a design that looked akin to the sketch model. However, the designing task became difficult when we were to consider the idea of Personal space and invasion. Through reading the text “Personal Space-The Behavioural Basis of Design” by Robert Sommer I was capable of under the idea of personal invasion, and how it may influence individuals. This lead to my reflection of personal invasion that occurs to me on a daily basis. An Example would be the third design which was created through reflecting on the activities people do on public transportation.
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2.0 DESIGN 20
2.1 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.
Personal Space
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.
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2.2 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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2.2 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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2.3 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.
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Cell 3 and 4 both uses this format. 3 cm
4 cm
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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2.4 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
2.4 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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2.4 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
2.4 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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2.5 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 Gallery, Los Angeles, 2008 30
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.
2.5 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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2.6 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
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
Front Back
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2.6 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.
2.7 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.
2.7 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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2.8 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.
LAYER 2
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. 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.
LAYER 3
LAYER 4
LAYER 5
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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2.9 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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2.10 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.
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
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2.11 M2 Critical Analysis This module involves the process of understanding and identifying the personal space idea that we wanted to follow. Working in a team, two designs were developing at the same time, the first design at the beginning of its process was focused more compare to the second design proposal. However, towards the end of both design process, a decision was made, where the second proposal was to be selected.
The decision was made through clarifying and emphasing on our personal space concept that we wanted to follow. Proposal one compared to proposal two, lacked regarding incorporating the second skin concept, for it was too structurally focused. Through this design journey, I learnt that it is important to select and design for the function and purpose first, before an emphasis on the aesthetics.
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The next stage of the design process involved producing a prototype. It was the beginning of undergoing testimonies of different materials, joining systems and the possible effects that can be applied to the structure. The challenge at this stage was to understand the digital fabrication method and how materials behave with the structure that was created. The analysis on material properties was crucial at this stage, for it is a significant influence on the structure and the effect that was considered.
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3.0 FABRICATION 44
3.1 Introduction DETERMINED ASPECT The Pattern that has been created by the sections. Using different materials. Forming a disturbing pattern on the structure.
NEED TO BE DEVELOPED ASPECT Suggestion such as apply a clean structure is recommended, the idea of applying colour and texture should also be further explored. The group should also play with different materials and creating variation in the height of the connecting sections, as well the overall shape that evolves around the body. Improvements should also be considered for the type of connection. Instead of utilising staples other method should be tested and explored. For the look of staple is not visually pleasing, at times it seems like it does not blend with the overall design of the structure. The texture applied on to the prototype does create a disturbing effect, however, the model is not physically clean. The group needs to find another way to present this idea to fully express its concept.
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3.2 Design Development Creating more volume on the surface of the layer, the aim is create an additional surface to convey the idea of disturbing effect.
The group has decided to continue with the use of polypropylene in conjunction with the ivory card material. This was decided upon the properties recognised during the testing of materials in M2, where the materials performed differently to one another, therefore, the group took these difference as a form of advantage to create a firm and also a flexible structure. Ivory
Polypropylene
The team has decided to remove the use of staples, replacing it with other form of joints. These joints include split pins and the system of weaving individual pieces through one another. Another resolution is to create a slotting system that fixes elements together. Joint systems
The second skin structure consists of layers of various size, the group has decided to test the idea of overlapping layers in different positions to create a unique pattern with dense sections which will change according to where it sits around the arm. More dense when it is closer to the arm, less dense when the structure is further away from the arm.
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Ivory+Polypropylene
3.3 Design development + fabrication of Prototype V.2
COLOUR AND PATTERN
TOP LAYER (UPWARD CURVE)
The use of colour and patterns was further developed. Perceiving from one angle an individual may only be able to perceive one shad of colour (red in this case), on the other side the shade of black is visible from a different angle. From the top view for instance both colours are visible, creating dissimilar view from different view point.
MIDDLE LAYER (SMALL UPWARD CURVE)
RED VIEW
BOTTOM LAYER (FLAT)
BLACK VIEW
The reason we applied this effect is because we want to convey viewers with distinct messages as they approach from different directions. The colour red was selected for it conveys the idea of an intense emotion. The shade black, is very dull and it is associated with the unknown or the negatives.
LAYERS OVERLAPPING
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SIDE PROFILE
IVORY WAVE In this testing model, the group attempts to explore the idea of applying continuous curvature to the system, as well as small twisting rotation so that the curve lines are not parallel with one another.
RELATIONSHIP BETWEEN WAVES
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EDGE PROFILE (TWISTING OF DIFFERENT SECTIONS)
The material used for this specific task was Ivory card, for the team want to acknowledge how ivory card performs individually with the waves applied.
MATERIAL MIX Maintaining the idea of using a curving surface on each layer, the team attempt to incorporate the characteristics of both ivory card and polypropylene to assist in the horizontal stretching. The polypropylene performs with high elasticity, allowing it to have a slim opening. This may be embed areas where adjacent areas to be stretched with a bigger opening. It also allows the whole structure to gain better rigidity.
TOP VIEW
On the other hand, the ivory card chosen because it is firmer than usual printing paper (high gsm). However, it has lower elasticity than polypropylene, hence able to retain its bent
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CONNECTION The third part that the team focused on was the connections between individual sections. Connections between selections include use of: • Split pins • Weaving • Gluing (Uhu Glue)
Split pins: these type of joint was is easy to apply on both the ivory card and polypropylene. We first cut an opening in the area that the pin was to Gluing: Applying uhu glue on to the ivory card was rather successful. The two pieces of ivory card held together firmly.
Weaving: This method consists of cutting two openings. The height of the openings are dependent on the width of the section that weaves through it
WEAVING
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DETAILING ON RHINO LAYER 1
Previously the group used this module to for our structure. The Module shown here, uses a curved that is quite round. Realistically, it is very hard to maintain this kind of shape.
LAYER 2
BEFORE LAYER 3
LAYER 4
AFTER
Therefore, a developed module is designed. It is designed to truly reflect the possible that can be maintained.
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PERSPECTIVE
SIDE PROFILE
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DETAIL SHOT : CURVE ON SURFACE
TOP VIEW
3.4 Reading Response Week 6 Architecture in the Digital Age - Design + Manufacturing/ Branko Kolarevic, Spon Press, London c2003
INCLUDE IMAGES FROM THE TEXT
National-Nederlanden Building (1996) Prague, Czech Republic - Frank Gehry: irregularly-shaped glass panels were cut using digitally-driven cutting machines.
National-Nederlanden Building (1996) Prague, Czech Republic - Frank Gehry: irregularlyshaped glass panels were cut using digitally-driven cutting machines.
Constructability of complex forms becomes a direct function of computability. Digital means are used not only in the case of representational models but also the fabrication and assembly process with a high degree of precision. Production processes are based on cutting, subtractive, additive and formative.
Two-dimensional cutting is the most commonly used technique that involves two axis motion of the sheet material. Depending on the properties and thicknesses of materials, different techniques such as plasma-arc, laser-beam and water-jet are chosen.
Subtractive fabrication involves the removal of a specified volume of material from solid using electro, chemically or mechanically reductive (multi-axis milling) processes. The milling of three-dimensional solids is basically two dimensional cutting but adding the ability to raise/lower the drill-bit. Drill-bits could vary in sizes (diameters) or could be done at different rotational speeds, again, depending on the materials. Under cuts can not be achieved.
Additive fabrication involves forming by adding material in a layer-by-layer manner, conversely to milling. Digital (solid) models are sliced into two-dimensional layers. Because of the limitation in sizes, cost and time, in design, additive fabrication processes are used mainly for models with curvilinear geometries.
Formative fabrication involves applying mechanical forces, restricting forms, heat and steam on material, forming it into the desirable shape through reshaping and deformation. The fabrication process of our design uses two-dimensional cutting technique, which is laser cutting.
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3.4 Reading Applied to Design For panel and folding system, the appropriate materials are usually in sheet form such as fabric, plastic, sheet metal or cardboard, with thicknesses up to 16mm. These materials are most cost effective with laser cutting fabrication. Specifically, our design is made out of optix card (and possibly polypropylene) strips that are laser cut out from 600x900mm sheets. The fabrication really helps achieving high precision for such a complex form in terms of determining the various shapes of the strips and locating the connection positions between them. However, the fabrication process of our design was significantly affected by the capacities of the Fablab’s laser cutter. Because it can only cut sheets at 600x900mm, the components (strips) that have bigger dimension needed to be cut out on Rhinoceros before being assembled into laser cutting templates (Nesting process). This result in the fact that we had to make connections within the long strips, which in our opinions, decreased the strength of the component itselfs, and the performance and behavior of the design as a whole.
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3.4 Reading Response Week 7 Digital Fabrications: architectural + material techniques/Lisa Iwamoto. New York: Princeton Architectural Press c2009
National-Nederlanden Building (1996) Prague, Czech Republic - Frank Gehry: irregularlyshaped glass panels were cut using digitally-driven cutting machines.
Experience Music Project - EMP (2000) Seattle, USA - Frank Gehry: 21,000 different shaped metal shingles for the exterior were cut digitally.
Digital fabrication is commonly one of the final stages of the architectural process: a way of using digital data to control the fabrication process. After the success of ground breaking projects where the digital models were translated directly into physical production by using digitally driven machines, this building method revealed that the complexity and uniqueness of the geometries did not significantly affect fabrication cost, since the required effort to make a series of unique pieces is almost equal to the effort to mass-produce identical ones. The success expanded the role of the architect to include oversight of the building, and therefore, results in Michael Speaks statement: “Making becomes knowledge or intelligence creation. In this way of thinking and doing, design and fabrication, and prototype become interactive and part of a nonlinear means of innovation�. The projects instigate on this avenue of design research and shape a new generation of architects. Digital models not only plays the strong visual aspect of a project but also plays a significant role in sparking the imagination of young designers. These projects were achieved by most notably architects who know-how and willing to do material experiments, traits that have now increasingly permeated design culture.
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Digital Weave University of California, Berkerley/Lisa Iwamoto (2004)
READING APPLIED TO DESIGN Digital technology has significant impacts on our design as it was consistently moving back and forth between physical model and digital surface model. In most of our time, we started digitally because as stated in the Digital Fabrication: Architectural and Material Technique, digital models are commonly used to test out the visual aspect of the whole system, creating oversights for each ideas. Physical models were most of the time not fully completed but used for experimental purposes and tested carefully to examine different materials. It was always a helpful practice for us to consistently review our digital models after making physical models and prototypes to see aspects that needed to be reconsidered. In terms of fabrication, even though using laser cutter allows us to create every single element of our design in high precision, our design intention always had to meet the machine capacities, such as maximum sizes/dimensions or thicknesses. Our design was greatly influenced by two fabrication methods: sectioning and folding. Our main precedent was the Digital Weave by UC Berkeley students and Lisa Iwamoto. The creation process was replicated: from Rhinoceros model with section cuts, laid out on templates for cutting, and assembled into system. Furthermore, the folds allow card materials to be closed and expanded (performance requirements) and therefore, allow the system to span distance and become partly self-supporting. Digital Weave
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Second Skin Project
3.5 Prototype development Positive of experimentation prototypes: The possibility of overlaying different layers to create a structure that generated a unique pattern, where the density is controllable through the layers and thickness of the individual layer. Moreover, another positive aspect includes creating a variation of curves and pattern. Colour was also embedded to create another meaning to the design. As an individual approach from behind the colour red is used to warn others, giving them a ‘stop’ signal. Negative feedback consists of needing to explore more possibilities in the types of joining the system because the use of the staple to connect two sections together did not seem visually pleasing and did not fit the visual effect that we attempt to create. Improvement: Material: Explore more on material system and properties. Connection: Discovering the possible joint system that assists in conveying the quirky theme applied. At this stage, the group still not satisfied with the joints tested. Effect: Although creating various forms of the wave was a good idea, these waves need to be dramatised for it is hard to indicate its existing effect in our prototype. Effect: Introducing the idea of colour was a good idea, however, additional elements need to be added to make the use of colour more effective.
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3.6 Prototype optimisation The group focused on creating curvature on the surface of each layer. These waves are visible and are created through changing the domain numbers of two groups of points. Although it does convey the idea that the group attempts to display, it has this consistent thickness, which was disappointing because when the thickness remains unchanged, the pattern created in between individual sections were not as visible on the front view it seemed flat and 2D. The material selection for this task was optix (black) 300gsm and thick paper (Red) 200gsm. When choosing these materials, the team considered the stability of the structure, what was not well considered was the flexibility for these sections. To join the two materials together the use of PVA glue was selected, the positive aspect of such glue is when it dries it is very strong, the negative side is that it leaves a messy surface which leaves marks on the surface. The joining method we attempted to use was split pins, as it is easily applied, dries faster than glue and can be removed if placed in the incorrect position. On one side the split pin leaves a nice shiny surface on the other side it is not the same. Hence, the group after receiving some advice decided to try
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Colour: The group continued with the colour effect generated by the two colours black and red. Connection: The group continued with split pins as we saw this as one of the successful solution at the time.
Material: Reflective quill board is applied to test whether it was suitable for the quirky theme. PVA glue was applied to hold the sections together, however, it was obvious to see that the surface was altered due to the paper soaking the glue. A similar result was also seen on the non shinny material as well.
Effect: The waves have been dramatised on rhino and laser cut, however, due to the material selected, glue applied and also the height of the sections, the structure was rather heavy and was not flexible enough to hold the pattern in between it.
3.7 FORM DEFINING
As the continuous wave idea was no longer approachable, the group was unsure about what the final form would be, so a small sketch model that sits around the shoulder was made to assist the group to visualise the shape and how the second skin would be attached to the body.
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3.8 PROTOTYPE OPTIMISATION
Red quill board and black card board was used for this task. The group attempted to use thinner strips with these materials again and it worked much better than the thicker continuous wave shape sections with small openings. At this stage the group was introduced to another form of joint connections, cable ties. When these cable ties were used the idea of leaving the ties uncut became an interesting idea. The group explored the idea of weaving in and out of the punched holes, attempting to create another layer or surface on top or under the existing structure. The major problem with the prototype was that it seemed uncontrolled, for it did not demonstrate a distinctive pattern that had its own principles.
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3.8 PROTOTYPE OPTIMISATION This prototype is a developed version of the prototype on the previous page. It attempts to resolve the problem that was discovered. Amendments were made for: -Height of the sections -Utilising the cable ties to create another surface, this is done through weaving the ties over and under the surface of each section. -We also selected various coloured cable ties to create a variation both in height and colour. These colours was chosen by looking at coloured patterns found on amphibians such as a frog. - The openings created by each sections was also adjusted to be bigger. The problem found in this part of our design decision was the design became rather unstable and was not capable of standing
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It creates a clean finish to the design. We tried using pop rivet to secure the strips together. The holes in the strips are cut first, then the bolt is inserted and using a pop rivet gun, the rivet bolt is secured in place. However, our main material is card. When a little tension is pulled on the card, it tore at the holes where the rivets are attached. Moreover, it gives more weight that might affect how our general form behaves. It is also more time and energy consuming.
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A section of the top layer was laser cut and used to test cable tie and rivet connections
TOP LAYER
BOTTOM LAYER
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PHOTOS
3.9 FABRICATION SEQUENCE
Numbering/Arranging Strips
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DIAGRAMS
BLACK OPTIX CARD
WHITE IVORY CARD
Combining Strips
Forming Volume
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GLUETAPE
CABLE TIES
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Weaving
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Connecting two layers
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Trimming & Touch-up
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WEAVING TECHNIQUES
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3.10 2nd Skin final design
LAYER 1
DETAILING
LAYER 2
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3.11 Assembly Drawing
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3.12 TRANSFORMATION Previously the design was given a layer of colour to emphasise upon the idea of quirkiness. However, instead of having the purpose of being quirky and disturbing, it became attractive and lost the purpose and idea of the main structure. The decision of the removeal of the colours was conducted to emphasise on the structural purpose and focus of the primary structure.
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4.0 REFLECTION WHAT HAVE I LEARNT? I learnt a design process that involved analysing a system through and object and translate the information given in the system to design, then adding a secondary system to finally produce one interlinking system. 1+1=1 Panel and Fold + Section and Profiling = Design Structure Fabrication was an important section during the making of the structure, I learned how to transform a 3D object with curved surface to a buildable object that is produced with a 2D plane. What I discovered was that fabrication is only one process of making the design, our personal space structure also required a long process of manually assembling small modules together. Communication between members was important, it is obvious that good communication lead to a good design, but good planning on certain tasks and checking the progress as a good was also important.
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DESIGN PROCESS: The different modules covered, began with the concept of ideation, where information from a small object was analysed and transformed into designs. Different method of analysing the object was an interesting experience where certain properties of the object was discovered. The design stage (module 2) was about understanding the main idea and theme for the object that we were designing. As the function and purpose comes first, the design selected was decided based on its idea of reflecting the second skin concept. During this stage fabricating a prototype was done to allow further understanding of the selected design, for example identifying the problem and attempting to consider possible resolutions. Small testimonies were done to test the different properties of varied materials. The Fabrication stage undertook numerous number of testing prototypes. It was a challenge until the correct material and joint was found. The resolution to the problems and concerns at this stage can only defined through a series of testing, this can be considered as a vital part of the process, as it will provide an option that is workable and right.
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MAJOR CHALLENGES In the design stage (module 2) the major challenges that the group faced was when we questioned whether we should continue to develop proposal one. We did not want to give up the idea, for many considerations was put into it. However, as further development proceeded we identified that the thinking process for proposal one was very form based, and because of this we drift away from our personal space concept about creating a quirky form. For proposal one we create a dangerous looking structure that did not accommodate the design theme initiated. During the fabrication stage, the challenge was finding the right material for the primary structure and connection systems that works with the material of that structure. This process was very challenging for many ideas were rejected simply because they did not work. Although many materials and joint systems failed, we could discover problems and think of ways to resolve them. Thus, Optix card and cable ties were selected as they worked in accordance with each other. Furthermore, the challenge of material and joints also lead and confused the team to what is specific form. The form was constandly considered when identifying the materials used, for the material and joint selected will influence the appearance and shape of the design.
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AREAS TO IMPROVE ON One of the effect of the design use to be applying colours to emphasis on the idea of quirkiness. It was applied incorrectly as it incorporated the idea of being dangerous. Therefore, the area to improve for future designs would be to consider if adding certain effects is relevant to the design. A similar problem was seen during Module 2 when proposal one was developed.
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5.0 Appendix
DDF Reading and Picture bibliography: Enric Miralles,Carme Pinos, 1988/1991, “How to layout a croissant” El Croquis 49/50 Enric Miralles, Carme Pinos, En Construccion pp.240‐241 Heath, A., Heath, D., & Jensen, A. (2000). 300 years of industrial design : function, form, technique, 1700‐2000 / Adrian Heath, Ditte Heath, Aage Lund Jensen. New York : Watson‐Guptill. Cheng, R. 2008. Inside Rhinoceros 4 / Ron K.C. Cheng. Clifton Park, NY : Thomson/ Delmar Learning, c2008. Sommer, R. 1969. Personal space : the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J.: Prentice‐Hall, c1969.A Scheurer, F. and Stehling, H._2011_: Lost in Parameter Space? IAD: Architectural Design, Wiley, 81_4_, July, pp. 70‐79 Asperl et al, 2007, Surfaces that can be built from paper/In H.Pottmann, A.Asperl,M.Hofer, A.Kilian (eds)Architectural Geometry, p534‐561, Bentley Institute Press Kolarevic, B 2003, Architecture in the Digital Age ‐Design and Manufacturing /Branko Kolarevic. Spon Press, London Marble, S, 2008. Building the Future: Recasting Labor in Architecture/ Philip Bernstein, Peggy Deamer. Princeton Architectural Press. pp 38‐42 Rifkin, J 2011, The third Industrial Revolution. Palgrave Macmillan.pp107‐126
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En.wikipedia.org. (2017). Common reed frog. [online] Available at: https:// en.wikipedia.org/wiki/Common_reed_frog#/media/File:Tree_frog_congo.jpg [Accessed 8 Jun. 2017].
CREDITS Page Cover
Drawings
Computation
Model Fabrication Model Assembly
Photography
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Xiaojin (Georgia) Huang Thái Quang Bùi De Lester Wong
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