DIGITAL DESIGN + FABRICATION SM1, 2017 Phalanx Ying Kai Chen 834103 Tutor: Amanda Masip
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Contents 1.0
IDEATION
2.4
Design Development: Prototype
1.1 Measured Drawings 1.2 Analysis 1.3 Digital Model: Method 1.4 Sketch Model 1.5.1 Sketch Design #1 1.5.2 Sketch Design #2 1.5.3 Sketch Design #3 1.6 M1 Review 2.0 Design 2.1 Sketch Design Development 2.2 Precedent Research 2.3 2nd Skin proposed design V.1 2.3.1 2nd Skin proposed design V.2 2.4.1 2.4.2 2.4.3 2.5
Testing Effects: Warm light Testing Effects: Cool light Testing Effects: Warm and Cool light M2 review
3.0 Fabrication 3.1 Design development 3.2.1 Design development 3.2.2 Design development 3.3.1 Design development - fabrication of version 1 3.3.2 Design development - fabrication of version 2 3.4 Design development - fabrication of version 2 3.5.1 Architecture in the digital age design and manufacturing - kolarevic branko 3.5.2 Digital fabrications: architectural and material techniques - lisa iwamoto 3.5.3 Reading applied to design 3.6.1 Prototype development - Shoulder module 3.6.2 Prototype development - shoulder module 3 3.6.3 Prototype development - pinching 3.6.4 Prototype optimisation - shoulder panel joint 3.7 Final digital model 3.8 Final - fabrication sequence 3.9. 1 Assembly drawing 3.9.2 Second skin - personal space redefinition 3.9.3 Second skin - testing effects 3.9.4 Final model 4.0 Reflection 5.0 Bibliography 5.1 Credits
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0.0 Introduction In todays busy society , we often find ourselves in situations where we feel like our personal space has been intruded whether it be on crowded bus or elevator. This semester in digital design and Fabrication, we were tasked with the job of creating a second wearable skin that would encompass the human body in order to protect the privacy and personal space of the wearer. This Journal is a collection and documentation of my design process from start to finish of the varies tasks used to create the seconf skin project.
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1.0
IDEATION Ying Kai Chen |Jiexin Wang |Qingyang Qin
1.1 Measured Drawings MEASURING METHOD. A flat front on photo was first taken of the honey comb decoration in order to gain a full understanding off the decorations details and structural features. ELEATION
SECTION
SCALE 1:2 The Dimensions of the decoration were obtained through the usage of a tape measure in order to measure the diameter of the sphere. Due to the curvaceous nature of the decorations surface features as observed in the photograph, cut pieces of string were used in order to help properly measure the dimensions of the repetitive diamond pattern of the decoration.
SCALE 1:2 The Section of the was extracted by folding the decoration in half to reveal the white cardboard inside. Due to lack of any curved lines, the inside dimensions were gained by using a straight ruler.
Measuring with string.
Measuring with ruler.
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1.2 Analysis While at a distance the surface of the decoration bares resemblance to a panel and fold, it is actually made up of interwoven sheets of paper which fit together creating a three-dimensional form. The interlocking of the paper creates wide openings in the decoration which grant the shape the ability to collapse in on itself when folded.
As mentioned earlier the decoration is capable of folding in half. As shown in the plans the more the decoration is folded the more the individual paper sections are compressed.
PLAN
The dimensions of the plan were measured using the same method as in the elevation.
The movement of the pattern as shown in the diagram demonstrate how the pattern begins at the poles of the decoration then spiral towards the opposite direction.
Surface Detail SCALE 1:1
A closer detail of how the paper intersects.
1.3 Digital Model: Method
1. Semicircle. Arc tool used to create curved half of Semicircle. Line tool used to create centre line of
2. From right viewpoint. Control points were enabled and
3. Mirror command to create reflect ion
4. From Top Viewpoint. ArrayPolar Command. Select
new points were added using Rebuild command. Control
of the pattern.
centre, enter the amount of copies and draw full circle
point were then moved in and out to create desired pattern.
to create copies of the pattern in a circle. 3. Top Viewpoint.
3. Perspective Viewpoint
Complications Maintaining the spherical shape of the original item as altering control points would often morph the shape of the sphere.
SURFACE DETAIL Working out how many times the pattern should be copied during Array Polar command in order to make sure the diamond shapes met properly. Therefore in some areas the diamond
Persepective view
PLAN
ELEVATION
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1.4 Sketch Model
To create my reconfigured system object, cardboard was used to construct the interlocking profile and sections of the originl paper decoration. The first thing I did was creating the vertical intersecting elements of the profile and section as shown on the right. Then the horizontal elements were added in by sliding cut cirular sheets of cardboard down the two ends to create to complete the profile and sectioned design.
The idea for my deisgn was inspired by the spiralling nature of the paper decorations surface, however unlike in the original model which is completely circular, in my sketch model I morphed the original shape of the deciration is a more irregular shape.
1.5.1 Sketch Design #1
Flexibility, Extendable, Inflated, Constricting. INSPIRATION AND IDEA: The first design possesses the same interlocking paper texture of original honey comb decoration, however instead of being a sphere, this design takes on an elongated shape.
The Design is long and flexible and is intended to wrap over the shoulder and curl out from underneath the armpit. The design takes advantage of the inflated nature of the original decoration, while also taking advantage of its folding ability into to extend into its desired shape.
The design extends outwards from the centre of the upper body passing the head, front torso and back as personal space is most prevalent in the upper body and head while being less significant towards the feet. The flexible nature of the design also relates to one’s personal space changing with different people.
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1.5.2 Sketch Design #2
Ridged, Surrounding, Contrast, Defensive, Shell INSPIRATION: and Idea
The geometric edges and sharp angles of the diamond shapes created by the intersecting paper surface. The spiralling movement of the paper layers was also a source of inspiration for the curvaceous structure of the design. This Design is ridged and non-flexible. The idea is that a solid structure would help to create a hard defensive design that would help to cover the personal space of the wearer.
The shell covers entirety of the upper torso as well as the head and face. The outer surface of the shell is jagged and pointy in order to create a more threatening aesthetic as to warn others not to approach. The inner surface is smooth and softer in order to create a sense of comfort for the wearer in order to simulate one’s comfort within their personal space. ELEVATION
SURFACE DETAIL
1.5.3 Sketch Design #3
Modular, Organic, Cresent, Free-flowing. IDEA AND INSPIRATION: The design consists of a module structure of ellipse shapes reminiscent of crescent moons. This shapes were inspired overall curvedness of the original item as well as the sketch model. The shapes consist of horizontal and vertical intersecting pieces that create the basic structure of the The modular pieces combine to form a structure to encompass the upper torso as well as the head and is equally protective of the front and back of the wearer. The concaved interior of the design is meant to help better fit the contours of the human body. The convex exterior is designed as a way to repel those outside the wearers personal space as similar to a ball the structure would bounce and deflect those who have come too close. The flowing shape of the structure also correlates to the movement of the human body as the different parts of the structure flow in the direction of the arms and head. This means no matter how you move the structure will move with you and provide pretection.
MOVEMENT DIAGRAM
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1.6 M1 Reflection
After the challenging task of drawing of the spherical honeycomb ball decoration I was really interested in exploring the criss crossing section and profile pattern. Therefore during M1 my focus was on developing my sketch designs to build upon the unique patternisation of the decoration. As a result I had formulated several different designs that would incorporate the unique pattern and adapting it to the human body. I had also created a sketch model that would help to explore the different ways I would be able to ultimately shape the pattern. However during the critique session it was pointed out that I should have also considered exploring the materiality of the honeycomb ball as it was made out of paper. This feedback I thought was very insightful as in my previous sketch designs and my sketch model had only been focusing on the pattern while assuming the structure to be simply rigid and static. Therefore taking my design further into M2 I will seek to conduct experimentation into using paper in order to address materiality.
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2.0
DESIGN Ying Kai Chen |Jiexin Wang |Qingyang Qin
2.1 Sketch Design Development Personal Space Abstraction Before going ahead in creating a 2nd skin project that protects Personal space, we decided it was a lot more important to first identify a group definition of what personal space was to us and the what it’s boundaries were.
When personal space is threatened, disturbed and or intruded, an act of reltaliation will will be taken. In Mattews case, this act is crossing his arms. In addition, putting his hands on hips is another form of motion taken when personal boundaries have
However while all concluded that the front was the most important and crucial area of body that required protected, we had also noted that one while the front was the most important area to protect the sides were also high on priority list in terms of needing security.
Although we had definitely considered the frontal area to be the most important area to protect, we still considered protecting the other areas we had indentified in our diagram to a lesser exent. We as a group had also considered really only needed to protect their personal space when treatened or when put in an uncomfortable position. Therefore our group determined personal space as being dynamic and changing depending on whether or not we are threatened with the front being the important area to protect with the sides being a close second when the need for personal protection arose.
To determine a group definition of personal we all had varying thoughts on the boundaries of ones personal space, however we had determined the frontal area particuularily in front of the face was the area that needed the most protection. However we had determined the frontal area particuularily in front of the face was the area that needed the most protection. As a result we used this idea of a group decided personal space in order investigate the boundaries of personal space. Through testing and measuring, we had uncovered that long distance between the face and strangers substaintually greater than that was previously thought, while the requirement for personal space was smaller for the back and lower body. As a result from these findings we focussed on mainly creating distance between the face and potential strangers.
Mattew’s personal boundary measured by Jiexin
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Sketch Design Development- Combining Ideas
Modular, Organic, Cresent, Free-flowing. Sketch Design Development After deciding how to define personal space as a group we started thinking of ways to merge all of our individual ideas together. We did so by conducting a thorough analysis on the strengths and weaknesses of each everyones prefered sketch designs previously created during ideation. Out of the three designs I had created . The design I had choosen to take forward was the my third crescent moon design. The reasoning behind choosing this design over the others due to the unique moon crescent shapes which would wrap around the human body in a unique way, which I believed would best protect the areas we needed to protect, i.e the head, sides and frontal section.
My design.
While I really liked the cresent shapes of my design I did identify the weakness of of it being too static and while the shapes does protect the areas of importance it didnt’t quite fit the ideas of a dynamic and ever changing personal space. Therefore we had the idea of incorporating the moving and folding aspects of both Jiexin and Qingyang’ designs in order to create a second skin idea that both encompassed the ones private space while also being able to move in order to add flexibility and possess the ability to adapt to the comfort of the wearer.
The compressing functionality of the panel and fold designs.
Jiexin’s design
Matthew’s design
Design Development Combining Ideas and Patternisation After finding identifying the strengths of the stetch designs, we combined the shape of my crescent moon design with the fan like functionality of Jiexin and Matthew’s sketch designs.
The cresent moon shapes reconstructured into a developable surfac consisting of diamond shapes.
Rough sketch of hedgehog spines Implementated into the cresent moon design.
Mountain Folds
Valley
A diamond plan made up tessilated diamond shapes and the use of mountain and valley folds granted the design the ability to compress and fold into the desired cresent shape.
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Design Development: Patternisation To develop our design further we looked at one example from nature to get a better grasp on how we could protect personal space. Therefore we decided to use the defensive aspects of the hedgehog as a case study for our own ideas.
Taking the same defensive system as the hedgehog, the concept of the spines were implemented into the exterior concurved surface of the design. This defence focuses on a primitive defence of “acting out� according to the theorys of Freud. In doing so, the spines serve as a deterent to all would be attackers and intruders of ones personal space.
Spikes lay flat when at rest
Hedgehog spines move and cover the body.
Stage 1:
Stage 2:
Spikes hidden when module is in compression.
Spikes become vsisble once horizontal tension is applied to the module.
Hedgehogs spines are compressed and confindes when calm. Stage 3: Spikes become erected once the module is fully extended horizontally.
Rough sketch of hedgehog spines Implementated into the cresent moon design.
The protuding spikes were created by cutting out one end of former mountain folds. which were then reversed. Due to reversing the already functional comprssing panle and folds. The spikes will extrude outward once the module was in tension and fully extended.
2.2 Precedent Research [1] Glow-in-the-darkness Dress
[2] 3D Pleated Petal Dress Transparency / Sencond skin / Layer / Asymmetric
Lighting / Negative Space
[1] Description of Precedent The dress in the darkness is decorated with lights via installing them in the holes of small fans, which gives a fantastic effect of visualisation.Meanwhile, the cool lighting also empohasises the permeability of the dress. Concept: The light is designed to highlight the garment’s pattern and simultaneously exists to explore the negative space of the body and to provide a great visual effect.
[2] Description of Precedent In Amaya Arzuaga’s design, she plays the transparency of material by using organza to create a sense of second skin. She utilises the organza to make pleated petals on one arm to create permeable space rather than clinging to the skin.Because of organza’s softness, hard materials are also used to act as frames to support the shape, and they are usually offset from the model’s body to enlarge the personal space.
Cardboard model constructed using the tessilation folding technique to create a curved shape into
Concept 1: The asymmetrical shape emphasise the user’s preferred side, which is same as the user’s dominant hand.
Concept 2: The transparency and the softness of this material made present the beauty of the body itself and makes the design be like second skin attaching to the user’s body.
Model laid flat out to reveal leaf like pattern.
Top view of the model.
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Precedent applied to design & Design development
Highlight body / Transparency / Inspired from the precedent study, we start to think add more effects to the second skin and play the transparency of the materials.
Development 1 is to add one more internal layer under the cresent moons by using the same material of precedent - organza to let the body get less exposure and enhance the sense of second skin, which high lights the body simultaneously.
Outter Cresent Moon structure.
Internal Layer
Cresent Moon Development 2 is to wrap lights onto the internal layer and position the small bulbs right under the cresent moon, which emit lighting from the hole. Negative space under the holes are explored and fantastic visual effects like precedent 1 are produced.
Internal Layer Lighting Layer
2.3 2nd Skin proposed design V.1 Propalsal #1 This proposal is focusing on the personal space of user’s front space especially user’s eyes ahead. That’s because Mattew get more sensitive in his front and it’s harder to use deffensive actions in front than side. The (wrapping) denser cresent moon modules are designed to enlarge the personal boudaries instead of direct actions ( Action 1, Action 2 photos on the right), which simultaneously leave a permeable space due to their curvy shapes. Meanwhile, this model is situational, shape changing with the variation of the user’s mood. So when the user only want to have the personal space, the model is half-opened with visible spikes; while the protruding spikes show, that represents user don’t want others to talk with himand even be close to him, giving a sense of attacking. What’s more, in order to easily get the emotion transformation, denser cresent moons are pined in pairs and controlled by strings holding on hands. The head part is consisted of folded moon cresents with less spikes in a fan shape, which hides the user’s facial expression. While the holes provides the user with the opportunities of observing others.
Plan View
Front View
Section
Isometric View Head portion
Actions People might take for protecting personal space in front, however, this actions are unnatural to do in public.
Action 1
Action 2
Strings that users hold
Shapes the denser cresent moon would go
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2.3.1 2nd Skin proposed design V.2 Proposal #2
isometric View
Section Viww Plan View
Front View
This proposal basically explores the side of the user’s dominant hand and is inspired by the precedent of Arzuyaya’s garment. Research indicates that people usually need more space in their handedness, therefore, we build our 2nd design project on the right right arm of the mesh body because Mattew is right-handedness. The project starts from the head continuously going to the hand. As the head is the most sensitive part so we design smaller spikes here to avoid big hole that might cause more exposure. And the variation is presented on the transition of spikes’ size, from small to large eventually go small. And elbow will hold the largest spike because it is the most aggressive part. The characteristic of folding makes the project able to be in different shape situationally. When the user is able to communicate with others, they can just close the cresent moons to make them fully folded, representing a sense of welcoming. While the user wants to leave him alone, he can open the cresent moon and hide himself.
Mechanism & Transition of spikes
Prototype PHOTOGRAPHY SETUP
Utilities -Black and White sheets for a ground base.
- White background wall and black foam board background.
-Lamp for additional light.
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2.4 Design Development: Prototype Initial idea: moon crescent
Material: paper The property of paper makes the spikes very flexible and extendable, but paper is not durable and it getting broken with time.
Second step: testing polypropylene as the material. The quality is durable and strong. However it is too rigid and the spikes cannot expand freely.
Third step: join multiple crescents. The crescents is big enough for cover the head.
Polypropylene: shoulder, the most aggressive feeling.
Fourth step: Testing a denser polypropylene panel. A denser pattern features more diamonds and more but shorter spikes.
Paper: face. Surface with many hollows and spikes. (visual effect, threaten offenders of personal space). Flexible, can be folded at the right shoulder.
Head and right shoulder are stressed in our design.
Fabric: arm. Most soft and flexible part (interior layer) Fixed by wire, shaped in arch.
Head: face is the most sensitive part of body, and eye contact with strangers is avoided. The hollows enable vision in front of the user. Right arm: most people use right arm as the dominant one. Many protective gestures are made by the right arm. Equipment for the right arm can exert the best effects.
The connection. Adjustable and fit the angle of shoulder and neck. Create a holistic protection.
2.4.1
Testing Effects Warm Light
To obtain the desired effects of our design, we experimented on using different kinds of lighting effects we could achieve in the dark. In order to do this we tested out two different kinds of lights: Warm white light as well as cool white light. By doing so we would be able to identify the strengths and weaknesses of each kind of light and determine which one would be best suited to explore the brief. Similiarily, through experimentation, analysis on the different choosen materials and how they react to the light was also something we had to pay consideration to. The first light we tested out was the warm lights.
Interal layer lit up with warm white light.
Conclusion
Putting the cardfold over the lights. The lights demonstrated the ability to shine on the paper creating constrasting shadow and lighting effects on the flat plains. In addition the white colour of the card as well as its allowed lights behind the card to shine through and illuminate the surface with spots of warm white and yellow lights.
Placing the polypropylene panel and fold over the lights allowed the lights underneath to not only shine through the material but also dissipate and create a haze like effect. The holes in the Plastic fold, created an openning revealling the vibrant inside of the frame structure, while the spikes which have also been highlighted by the lights act as physical barrier to would be intruders.
Through the exploration of warm white light we were able to gain an understanding of how the light reacts with the various choosen materials and unique ways we can implement the use of lighting in our design. However we also found warm light may not be the most appropriate in protecting personal space as it is by nature a more friendly tone of lighting which may intice intruders rather than dissuade. 1
2.4.2
Testing Effects Cool Light
Due to the undesirable emotional effects of using warm lights, we decided to explore the usage of a cool white light. As such the same experiment was used to determine the effects and interations the white light has with the different materials.
Internal layer lit up with cool white light
Conclusion
In comparsion to the warm white light the cool light gives off a more less friendly feeling which is far more suitable in satisfiying the requirements of the brief. Therefore as a group we preferred the use of the cool lights over the warm lights to be implemented into our prototype model.
From conducting similar tests with the white light, it was apperent to us that the cool light was far more subdued than it’s warmer counterpart. As a result the cool lighting acheived a more ominious effect for the design. which we believed would be far more effective at protecting onces personal space more so than the friendlier warm white lights.
2.4.3
Testing Effects
Warm and Cool Light
Testing Effects Our final test was to explore the usuage of both cool and warm white lights. Doing so we attempted to take advantge of the inviting qualities of the warm white with the more ominus eathetic of the more subdued white light.Through the combination of both warm asnd cool lights help to highlight and blanket the vital personal space of the user.
Experimenting with the lights on various materials created some very interesting and pretty effects through the constrast of the cold and hot as well as constrasting emotions. By putting both of the previous lights togther, the idea was to try to use the welcoming qualities of the warm lights to comfort the wearer while the cool lights served to deter outsiders.
Conclusion
Through the combination of both coloured lights our aim was to see if we could combine the warm effects of comfort for the user with the cooler negative effects of the white light. However this turned out to not be the case at all as what happened was that while the combination looked pretty, there was too much collision with the to opposing styles of light. Therefore in the end we just decided to implement the cool lights into our prototype design.
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2.4.4 Testing Effects Light Implementation into prototype
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2.5 Review on M2 The feedback we received during our M2 presentation, involved further exploration of our module diamond shapes. While our designs and ideas were positive and satisfied the requirements of the brief as well helped us in the exploration of our designs, it was suggested that we experiment more on diamond pattern variation in order to better elicit an emotional response to further enhance our usage of the defensive spike protrusions of our design. In addition the idea of using the more tightly packed smaller diamond pattern was suggested by Chen over the use of the current diamond pattern, while Amanda brought up the idea of attaching extra longer spikes to help offset the problem of the smaller diamond pattern possessing smaller spines. Furthermore, the feedback also brought up the topic of developing a method of attaching the second skin to the body as well as combining the modules together, as our previous attempt in developing one in the form of our internal layer was not quite as successful as it strayed a bit too far from our system of panel and fold. The idea of pinching the diamond shapes together was a method of joining the modules together was as it helped to create more variations in the diamond pattern as well as create a more dynamic flow in the design. Another suggestion brought up by Rosie during feedback was to explore with the scale of design as it our current idea was quite restrictive while making a bigger design would greatly enhance its presence. The lighting effects we had explored previously during the end of M2 were considered to a unessecary as it was told to us that the lights didn’t really add to much to our defensive system. Also since it wasn’t quite possible for us to attach the lights in a clean and neat way, the messy entanglement of wires would have only ditracted from our overall ideas and concepts. While we were pretty disapointed to hear this at first most likely due to the beauty of the lighting effects, we ultimately learn’t the lesson that appealling effects don’t always fit with the design intentions.
3.0
FABRICATION Ying Kai Chen |Jiexin Wang |Qingyang Qin
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3.1 DESIGN DEVELOPMENT DEVELOPMENT #1
|PROTOTYPE
ORIGINAL MOON CRESENT, LESS DENSE, LESS FLEXIBLE
In M2, we produced a lot of prototypes, from Amanda’s feedback, this densely moon cresent is eventually selected to keep developing. Because this one is more flexible and owns much potential to build different shape through compressing and pinching in various ways. As well as different size and patterns are considered. DENSE MOON CRESENT, COMPRESSING, MORE FLREXIBLE AND DEVELOPABLE
In new pattern, the moon cresent are distributed into 3 parts to achieve the transition of diamonds. The first part is composed of extremely small and dense diamonds for pinching. And middle diamonds are combined to form the second part to make more possibility for compressing and building shape. The large diamond with spikes are the third part which gives a sense of attacking
3.2.1 DESIGN DEVELOPMENT DEVELOPMENT #2
|OVERALL FORM
In response to the feedback received during our presentation, we devised three more designs to help us explore the various suggestions made. SKETCH DESIGN NO.1
Utilising the idea of pinching, combines multiple modules together to create a dynamic flow of diamonds around the body. Through pinching not only a solution to the connectivity of the modules was found but also pattern variation and a way to contour and curve the design in order to
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3.2.2 DESIGN DEVELOPMENT SKETCH DESIGN NO.2 Developing further from the first design, design 2 utilised the same pinching idea however to a very different effect. While the first design only wrapped around the body, this design extends forward to encompass the frontal space of the wearer as we believed that one’s personal space was predominant in the front.
3.3.1 DESIGN DEVELOPMENT - FABRICATION OF VERSION 1 SKETCH DESIGN NO.3 This design uses two layers of panels with an external layer possessing spikes and a smooth spikeless inner layer, which is covered by the external layer when closed. When not in use the design is folded in an overlapped fashion covering up only the chest of the wearer. Once in use the two exterior panels will open up and expand with one panel
Internal layer of panel.
covering the wearers face while the lower panel covers more of the wearers lower torso.
External layer of panel.
This was the design we ultimately setteled down on. As we liked the idea of having movable modules. to cover the wearers body. The previous designs all possessed very static elements that while very protective didn’t comply with our idea of a dynamic design that can protect ones ever changing persoanl space.
Defence inactive. Defence activated.
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3.3.2 DESIGN DEVELOPMENT - FABRICATION OF VERSION 2
Through the testing of the design from a vertical orientation was discovered that the polyproperlene although sturdy was simply not ideal that taking the vertical loads we placed on it and was not strong enough to maintain the desired shape and form of our design as the structure was too heavy and fimsy. As a result the pivoting wouldnt work thus failing the need for a defensive second skin, as such a new design strategy was devised to solve these problems.
3.4 DESIGN DEVELOPMENT - FABRICATION OF VERSION 2
The new design featured the opening and closing of the panels are now worn on the back rather than being suspended on the front of the wearer. When the design is not in use i.e both arms by your side, the spikes of the design will still out backwards and be invisible from the from untill otherwise activated. The angle of motion is a natural and often subconscious response to any outside intrusion.
Furthermore, due to the flexible angles of motion the arms are caple of. The design and thus the projection of the spines are not restricted in covering the front but also the protection of the the wearers sides.
The back facing orientation of the spikes relate to our newly discovered persective of personal space, that being the often overlooked backside.
Rather than using strings to open and close the design like in the previous design, the the bottom ends of the panels would be secured on the wears arms which would then move and pivot based on the very movement of the users arms.
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3.5.1 Architecture in the Digital Age Design and Manufacturing - Kolarevic Branko
The reading descirbes the various methods and processess used in the modern day fabrication of architectural models and how highly complex forms could be extracted and manufactured from a digtial design. The process outlined that were used in our design. -Subtractive Fabrication- The Process of cutting away at the material leaving behind only neccessary materials. - Two-dimensional Fabrication
- Additive Fabrication
- The Process of adding and joining materials together to fom something new.
- Formative Fabrication
- The Process of reshaping and altering materials such as folding and die casting.
-Surface strategies- Adding to the surface of material through the techiques such as spray painting. While all of the production methods mentioned above were all used in our design, Subtractive Fabrication was the prodominant from of manufacture. Through the extrensive usuage of laser cutting, we were able to create our desired panels at the right shape and scale. Formative Fabrication and well as surface startegies were used to help us manipluate the surface of our design as well as alter the shape of form in order to create volume. Ultimately this reading did help give me more insight into the background information used in the digital fabrication which really assisted in better understanding the processes used in fabrication.
3.5.2 Digital fabrications: architectural and material techniques - Lisa Iwamoto While previously the creative ability of many architectures was often highly dictacted by limited technology. Technology these days has allowed designers and architects alike to create and design like never before. Programs such as CAD/CAM and CNC has allowed designers to transform digital 3D designs into physical models, thus expanding the “boundaries of architectural form and construction”.
In terms of our design which possess a strong emphasis on tessilation as well as panel and fold, which we benefited highly froam as it allowed us to create highly complex and advanced shapes that wouldnt have been possible without such technology. The folds and curves of our design could have been easily created through deformation of the surface through the various digital tools provided to us.
In terms of a past project that was the most simiilar to our current design would have been the Air Force Academy Cadet Chapel by Walter Netsch. Netsch’s design is similar to ours in that it also possess a diamond tessilated design on it’s facade. The unique origami like folds and bends really relates to our design as it also realies on the folds of two- diThe angular structures of Netschs airforce chapel.
mensional panels to create three- dimensional form and volume. This can also be seen in the example provided in the Jon Ultzon’s Sydney opera house tunnel.
Volume created by the folding and bendin of the 2D panles.
Volumes created in our design by the curving of the flat diamond panels.
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3.5.3 READING APPLIED TO DESIGN Rhinoceros 5 was the program used to generate the pat-
STAGE 1- DESIGN
tern used for laser cutting. Throughout our entire design process, we had done a mixture of design and making therefore the lines between
STAGE 2 - DIGITAL DESIGN IN RHINO
design, fabrication and prototyping became blurred. (Iwamoto, 2009) Another aspect that was greatly different was having to use Rhino to do the design which was the better media at conveying the design proposal (viewing the model from differnt viewpoints) as such digital representation afforded a more seamless transition between design and making. (Iwamoto, 2009) since it was easier to create the models based on the digital model rather than relying on drawings. The fabrication process was a huge contrast with the design process, as previously designs were created mainly out of paper. Laser cutter helped us to try different materials
Design plan created using overlapping pieces of tracing paper.
which are very hard to make by hand, which makes our life easier.
STAGE 3 - FABRICATION - BUILD LASERCUTTING PATTERN Build 3D model IN rhinoceros and try different sized of spikes on
STAGE 4 - FABRICATION - FOLDING POLYPROPYLENE
“Making becomes knowledge or intelligence creation� Michael Speaks.
Red - Etch Black - cut
close-up of Polyproperlene Patternisation created by the laser cutter.
3.6.1 PROTOTYPE DEVELOPMENT - SHOULDER MODULE In order to attach the defensive panels to the body. Developing a suitable shoulder panel was paramount to our design. Most of the panels that were created were the variations original meant for the original design. These modules were all cut using the laser cutter and demonstrated usage of subtractive fabrication.
Due to being placed on the shoulder which possess a smaller surface area to the back as well as not being our main form of defence. Therefore we devised to styles of smaller diamond panels.
SHOULDER MODULE 1 - VARIATION WITH SMALL DIAMONDS - the small diamonds of this variation
SHOUDER MODULE 3 - DEVELOPED FROM MODULE
are designed in a way to crumple when compressed and are meant to exemplify the idea of
1 - the large flat shapes are meant to fit cleanly
pinching together in order to create pattern variation in the design as well as something that
on the shoulders while the segment of smaller di-
can better fit and suit the arms.
amonds are meant to be attached to the back middle panel. This design only had three diamonds
The design although interesting, was later abandoned due to the ridgidity of the polyproperlene
which doesn’t quiet fit on the shoulder as the limit-
preventing the diamond from being folded as many times as we reauired despite the shape
ed amount of flat diamods do not quiet fold prop-
possessing more etch lines.
erly, therefore not being able to sit firmly on the contours of the shouders. SHOULDER MODULE 4 - SMALLER VERSION OF THE CONSISTENT DIAMOND PANEL - Similiar to the large panel, this design is meant to possess an even amount of flexibility on the design. Although this design was meant to mimic the it’s larger counterpart, the diamonds were to small therefore it actually turned out to have the same weakness of the shoulder module 1.
SHOULDER MODULE 2 - DESIGN WITH CONSISTENT DIAMONDS- This panel’s consistent var-
SHOULDER MODULE 5 - Large diamonds in the middle- A panel of smaller diamonds conatin-
iation in diamond shapes is the most flexible as all of the diamond panels all possess the
ing four large diamonds in the middle. The idea for this design was to use the smaller diamonds
same folding ability all over the modules.
as a method of compressing onto the shoulder so that the larger diamonds on the shoulder.
RED LINE - ETCH BLACK LINE - CUT
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Shoulder Module 1: This one owns dense and small diamonds at bottom and shows a transition within the whole module, which is a very interesting one. While due to the rigidity of polyproplyene, the small diamond is very hard to fold and pinch which will make the small diamonds easily broken. Also, as there are no enough medium diamonds, it’s hard to make volume that could let this module fit onto the shoulder
Shoulder Module 5: Although this design was meant to mimic the it’s larger counterpart, the diamonds were to small therefore it actually turned out to have the same weakness of the shoulder module 1.
3.6.2 PROTOTYPE DEVELOPMENT - SHOULDER MODULE 3 MODULE 1 -> MODULE 3 Because we really like the transition idea in module one, so we keep trying to make the shoulder module fit onto the body more, some large panels are cut to fit the curvity of shoulder. And according to the pattern after cutting, we get module 3, which is quite fitting onto the shoulder, however, cosidered that the shoulder panel need to be tight and strong enough as the connector and supporter for the large back panels, this one is still
Module 3
Developed from module 1 by cutting some large diamonds
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MODULE 3 ONTO THE BODY
3.6.3 PROTOTYPE DEVELOPMENT - PINCHING
Using cable ties to tighten the diamond pattern together. Due to the ridgitity of polyproperlene the folds of the panels were not able to compress as well and create 3 Dimensinal form as such the panels appeared flat and 2 Dimensional plane. Therefore we had considered to make the shoulder module capable of creating volume and fits onto the shoulder, we try to use the way of pinching, which lets the diamonds fold more tightly and silmultaneously change the shape of shoulder module(especially sides). We took the idea of creating volumes from the Air Force Academy Cadet Chapel by Walter Netsch which also uses the folding of tessilations to form volumes.
Developed form module 1, it doesn’t suits shoulder well and is not tight enough due to the large volume it made.
Developed from the originally dense moon cresent, this is the one we adopted on shoulder eventually, which is very supportive and nicely shaped.
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3.6.4 PROTOTYPE OPTIMISATION - SHOULDER PANEL JOINT After Testing out all of the smaller modules it was found that shoulder Module 2 was the most successful of the shoulder pieces as we it possessed the greatest folding and pinching ability without the risk of breaking. Furthermore the smaller shoulder modules (3 and 4) were able to be placed on the shoulder, they simply did not possess the length or the curvature to be attached on to the back panels while also being able to be supported on he shoulder. The next step in our design process was to work out ways to connect the modules together.
https://www.walmart.com/ip/Jewelry-Basics-Metal-Findings-200pk-SilverJump-Rings-8mm/35670621
https://www.google.com.au/url?sa=i& rc=s&source=images&cd=&ved=0ahU hUCUZQKHf3rAG4QjhwIBQ&url=http%3
Strings: By criss-crossing springs togther we able to effective-
Next we tested using a ring with the intention of using some-
Pop rivets: The idea was to use pop
ly sow the two shoulder modules together. While the strings
thing that wasn’t quiet as visible as the strings. However the
create fixed points in order to hold t
themsleves were strong enough to hold the modules in place
ring did not create the fixed joint that we wanted due its
er. However after using a single riv
the strings themselves were highly visible and we believe they
round nature.
was very visible and apparent.
detracted from our system of panel and fold.
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Shoulder panels
Pinching
Cable ties
&rct=j&q=&esUKEwi4w4H7uNvTA3A%2F%2Fwww.
Back panel
Strategy for how to use cable ties to attach the shoulder panels to the middle back panel.
p rivets in pairs were used to
Cable ties: Due to the success of using cable ties to attach the spikes
the shoulder panels togeth-
down, we decided experimented using cable ties on the polyproper-
vet even I small black one,
lene sheets.An added advantage was that the zip ties bended in with the polyproperlene thus not interferring with our design. Therefore cable ties were once again used as a way to connect our pieces together.
3.7 FINAL DIGITAL MODEL
FRONT VIEW
ISOMETRIC VIEW
DETAIL - ARM BENT
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ISOMETEIC CLOSE-UP
BACK VIEW
DETAIL - ARM BENT
3.8 FINAL - FABRICATION SEQUENCE
COMPLETED BACK DEFENCE
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FABRICATION SEQUENCE
After the digital process we began the production of our first moving prototype of our moving component. By using clear polyproperlene, we folded our defensive panels like we had been doing throughout our design process. However we due to the rigidity of polyproperlene as well as requirement for it to fold, the panel had to be relatively flat. However the spikes were still folded and protuded as usual.
Cable ties were used to attach the spikes onto the diamond panel.
Rhino File of the two lengths of spike extrusions. 10cm and 20cm. We decided to use extra spikes because the shorter spikes aren’t quiet enough to protect personal space.
External frontal defensive layer with spikes protuding. However as seen we didnt feel like the defensive spikes would be long enough.
A drill was used to cut holes into the panels in order for cable ties to be woven into the panels.
FINAL - FABRICATION SEQUENCE Fabrication of shoulder panels: After the creation of our main second skin system which was our back mounted wings
Compressing the etched lines of the dia-
In order to solve the problems dsiccov-
Cable ties used to create the pinching
mond folds manually. As discovered in M2
ered previously with the compression of
technique.Similar to the spikes, the cable
the rigidity of the polyproperlene meant
the polyproperlene by hand, we decid-
ties were tied to the bottom of the poly-
that the folds were extremely difficult to
ed to opt to using a table press in order to
properlene in order to hide the cable ties
fold and compress by hand as all of the
get achieve the desired effects on with
“heads�.
material was quiet resistant to compres-
our diamond patterned surface. The Ta-
sion forces even with etch lines. There-
ble press appiled are more force evenly
fore compression by hand meant that
through the properlene which was not
the panels were unevenly compressed
possible by hand, thus capable of cre-
with certain areas namely the sides of
ating an evenly folded diamond panel.
the module being compressed while the diamonds closer to the centre remained realtively flat.
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The clear cable ties attached on to the diamond panel.
The three panels are being attachd to-
The clear cable ties are the same colour as the polyprop-
gether by a rivet gun. this was not only
erlene and are also very strong keeping the spikes in place.
used as method of connection but used
This was an example of additive fabrication as we were combining different aspects of our design together.
to create the movingjoint necessary in our design.
Single Rivot joint combining the three panels together. This joint is the element of our design that allows for the movement in our model. However the rivet wasn’t always stable and would at times fallout. While the rivit does provide the pivoting element that was required, it was ultimately unstable which would sometimes fallout.
As a result we decided to use a bolt as it a lot sturdier than the rivet while also not interferring with the pivotig process.
Cable tieing strategy.
3.9. 1 ASSEMBLY DRAWING
BACK PANEL (right)
BACK PANEL (left)
SHOULDER PANEL (right)
SHOULDER PANEL (LEFT)
FLAT PANEL (back middle)
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3.9.2 SECOND SKIN - PERSONAL SPACE REDEFINITION The back facing orientation of spikes points out our newly discovered perspective of personal space. As the back space is an invisible area, the individual distance of people behind the user can’t be ensured. Therefore, we designed back panels with long spikes to activate the passively defensive mechanism at back and ensure the least distance with people behind. Moreover, the side and front space are expanded via bending arms to make the spikes follow arm’s motion to stand out. According to the body analysis, The angle of motion is a natural and often subconscious response to any outside intrusion.Hence, we took advantage of this motion and developed our design based on Back space expansion achieved by long spikes
Side space expansionachieved by motion
Front space expansion
the hard edged geometric design in order to serve as an outward manifestation of our inner insecurity.
The idea behind our concept was developed from hedgedog’s defensive mechanism - when there are intruders, the spikes will splay out to drive them way, which envokes emotional response. Our design palces emphasises on the spikes to show the user’s emotion, which is driven by the usersmotion.
Design Transition
3.9.3 SECOND SKIN - TESTING EFFECTS OUR SECOND SKIN PROJECT IS MAINLY ACHIEVED BY SPIKES AND MOTION, WHICH GIVES EMOTION EFFECTS
EXPAND FRONT & SIDE SPACE
SHOWING THE LARGEST PERSONAL SPACE THIS PROJECT CAN EXPAND
EMPHASIZING HANDEDNESS - EXPAND ONE SIDE
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AMPLIFYING THE EMOTION EFFECT - WHILE MAINLY FOR DEFENSIVE NOT FOR ATTACKING
SHPOWING THE PERSONAL BOUNDARY TO OTHERS
3.9.4 FINAL MODEL
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FINAL MODEL
4.0 REFLECTION Digital Design and Fabrication was definitely a useful and insightful subject. The skills in Digital Fabrication that I had learned as well as the introduction to the design process was invaluable and will be lessons that have allowed me and my group to progress and create a final design that was able to fulfill the goals and achieve desirable outcomes in a second skin that allowed us to protect our predetermined definition of personal space. Digital design was definitely one of the skills I had obtained during my time in ddf. Before studying this unit I had almost no skills in rhino and very limited knowledge in photoshop and indesign and at the beginning I wasn’t confident in doing the computer modelling tasks on my own. Luckily through the various modules I was given more and more opportunities to experiment with each program and by gaining more experience with using each one I was able to slowly build up my knowledge and confidence in computer design. The three tech sessions were also quite helpful as they introduced us to many techniques that really helped to speed up our digital design process. Due to my initial lack of understanding in rhino, the first tech session really gave the chance to ask for help and really get me started off with some basic rhino tips, although I still relied on tutors and tech supports to teach me many new skills in helping me progress and complete my tasks. While my introduction to the use of computer software was a rocky start, after all the various tech workshops and module tasks, my knowledge and skills have progressed drastically and I am now far more competent in the use of using rhino. Another aspect of digtal design I had learn’t in this subject was the digital fabrication process. The readings by Kolarevic and Iwamoto introduced me the different methods of fabrication that are used in the design industry as well as how fundamental and revolutionary the introduction of digital design has had with the use of programs such as CAD/CAM programs. Understanding these readings coincided with my learning of using the laser cutters in the Fablab when we transitioned from hand crafted prototypes to using digital fabrication methods. As such they provided me with much insight and background information into the processes behind digital fabrication. The design process for the group was a fairly smooth journey although we did face several challenges and tribulations especially towards the end of M3. Trasitioning through the design process from M1 individual work into M2 group work was a very intriguing and interesting process as we functioned very well a group constantly putting forth different ideas after studying precedents as well extensive material exploration and lighting effects to push and progress our design forward. We had also taken tutor feedback on board and very seriously during M2 and M3 as it not only helped to serve as a useful guideline for us to follow but also helped get us through the troubles of M3. Up until M3, our design journey had been very steady and progressive, It was only until the fabrication failure of what was at the time our final design that we had to quickly change it to our current cape/wing like design in short notice. Our previous design had failed not because the concept was poor but we had overestimated the sturdiness of polyproperlene which may have been resultant fom our previous successes which caused us to over look this small but ultimately crucial material quality. Due to changing our design at such short notice we did have to sacrifice a part of the aesthetic beauty of our design however we did still result in a model that was functional and conformed to our ideas of personal space protection. The importance of Blending creative imagination and production was a core idea in the readings of marble which was an area that I believe our group didn’t quite fulfill this requirement. Risk is something to be avoided as described by Marble (Marble, 2008, p.41). As described earlier the risk we took was in changing up our design during the final few weeks M3, we had definitely sacrificed several of our initial ideas as our group was mainly focused on the functionality of the second skin. That being said however I was still quite satisfied in how our design ultimately turned out and how well it was able to function in protecting the personal space of the wearer. 1
5.0 Bibliography Iwamoto, I, 2009, Digital fabrications: architectural and material techniques, Princeton Architectural Press, New York Kolarevic, B, 2003, Architecture in the Digital Age Design and Manufacturing, Spon Press, London Marble, S, 2008, Imaging risk, in Berstein, Philip and Deamer, Peddy (eds), Building (in) the future: Recasting Labour in Architecture, Princeton Architectural Press, New York, pp, 38-42.
5.1 Credits CREDITS Page Cover
Drawings
Computation
Model Fabrication Model Assembly
Photography
Writing
Graphic Design
Page Cover
Drawings
Computation
Model Fabrication Model Assembly
Photography
Writing
Graphic Design
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Ying Kai Chen Jie Xin Wang Qing Yang Qin
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