DIGITAL DESIGN + FABRICATION SM1, 2016 TRANSLUCENT CORRUGATION Yueting Yang 8102226 Josh + Group 1
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Content 0.0 Introduction
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1.0 Ideation
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2.0 Design
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1.1 Object 1.2 Object + System Analysis 1.2 Volume 1.3 Sketch design proposal
2.1 Design development intro 2.2 Digitization + Design proposal v.1 2.3 Precedent research 2.4 Design proposal v.2 2.5 Prototype v.1+ Testing Effects
3.0 Fabrication
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3.1 Fabrication intro 3.2 Design development & Fabrication of prototype v2 3.3 Design development & Fabrication of prototype v3 3.4 Final Prototype development + optimisation 3.5 Final Digital model 3.6 Fabrication sequence 3.7 Assembly Drawing 3.8 Completed 2nd Skin
4.0 Reflection
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5.0 Appendix
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5.1 Credi 5.2 Bibliography
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0.0 Introduction Basing on the principle of curved folding, we want to create a second skin with a corrugated and semi-transparent appearance which extends the personal space and blurs the boundary of body outline. The polypropylene and corrugated surface also interacts very well with environmental light. The final model is a light-weight structure and the overall curved shape fits our female model well by creating a sense of elegance.
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Folding Stool
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1.0 IDEATION My initial object is folding step stool, based on the paneling and folding method. To analyze the system, I start off measuring the object and sensing it in a three-dimensional way and by using this data and diagrams, I rebuild it in a rhino and then express in a digital way. To understand the folding movement, I draw the hinge and moving graphics to show how the folding mechanic works. Finally, based on my research, several reconfigured models were made.
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Measured Drawings
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PLAN 1:2
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ELEVATION 1:2
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METHOD OF MEASURING
Folding stool is a regular shape object, which can be measured directly by ruler according to its prolife.
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R=35
Putting the ruler vertically can measure the height of stool. After get the dimensions of the top and bottom rectangles, four ridges from two sides can be drawn just by easily connecting the points of each rectangle.
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SECTION 1:2
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Digital Model
Wire mode
Folding up perspective 12
Unfolding perspective
Analysis
HINGE DETAIL The hinge structure enables the folding function of stool.There are two types of elements combining to the hinge, one has a concave notch on the two sides and another gets two convex parts. Where they are connected is on the rotational axis which allows two panels to rotate in opposite direction.
The folding logic of this stool can be simplified to two separated plane with one intersection line as the second picture shown. Besides, this line is exact the rotating axis.
When the stool is folding to flat, the two panels from side fold in while the top ridge pops up.
When the two sides fold in, they move horizontally and the top panels rise up vertically. This folding structure can be total simplified to a panel or paper folding form which may utilize the later research.
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Volume: Sketch Model
SKETCH MODEL 1
Using flat piece of paper to create 3d object and volume. The volume and height can change according to the degree of folding.
SKETCH MODEL 2
Combing triangular shapes to form a changeable and expandable paper complex.
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SKETCH MODEL 3
Simplify the folding stool to paper folding system to further research its folding logic. Normally, the reducing from horizontal distance will cause the adding of structure’s height so by multiplying the numbers this shape in the same direction, it will still follow this rule. Then by combing two sets of them, the central volume is created.
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PROPOSAL 1
Kinetic Expandable Centralized Foldable
An umbrella-like shoulder cover can expand according to body’s ac-tion. When panels expand, the volume is created to enlarge the per-sonal boundary, inversely, when planes are folding up, the personal space shrink.
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PROPOSAL 2
Module Translucent Foldable Regular
By following the folding logic of stepping stool, a single piece of paper module was created. Then copy the module by multiple times to create a complex which produces the inner volume for human body. Usually, people need more space in their front area so the system only stretch in in the front-back direction.
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PROPOSAL 3
Kinetic Extendable Triangular Responsive Enhance
When the body is relaxed, those triangular shapes are folding together thus sprawling around the body. But if user stretch out their arms, the folding panels suffering the tension to extend so the personal boundary is expanded as well, which can enhance the effect of body’s action.
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M1 REFLECTION
To simply sense an object, people usually use their eyes or touch it by hand to feel its shape and size roughly, however in order to analyze the object, the measurement would work better, as Heath, Heath and Jensen (2000, p9) mentioned in their book 300 years of industrial design that people can observe and record the worthwhile artefacts by measured drawing. Therefore, once it comes to complex analysis and manufacturing, the measurement plays a very important role in containing a lot of useful data to make the mass production or copy of the object possible. A flat sheet of paper can form a volume by folding it or creating pleats, which is an inherent characteristic of folding and paneling. In the article of Sommer (1969), she described the personal space as invisible boundaries with surroundings, so my design brief is to make the boundary visible and can be perceived physically as a second skin, basing on the techniques of paneling and folding.
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Alison Fong, Yueting Yang, Tong Wu (830833, 813076, 810226)
2.0 DESIGN In the Module 2, we want to create a second skin which extents personal space and forms volume by duplicating similar elements around the body so we did several different test to determine what a proper basic component is and which way we are going to duplicate them. The second skin is the medium to connect the body to the surroundings so we do not want the structure to be to ‘solid’. Another concept we want to integrate is that we want our second skin design can to some extent to avoid people using their mobile phone while walking by blocking their front view and limit their hand movement so the user can be aware more of the surroundings.
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2.1 Sketch Design Development
Our concept is based on the use of mobile phones, where we want to investigate the scenario where it is dangerous to walk and use your mobile phone, also known as ‘phoning’. According to research done by Western Washington University, it showed that ‘phoning’ decreases our situational awareness and can lead to ‘inattentional blindness’, which is the inability to detect new stimuli (Giancaspro, 2016). Pedestrian behavior requires the combination of our different senses, but ‘phoning’ compromises these skills and information processing. In relation to personal space, when using our phone, our personal space is smaller; limited to whatever they can actually sense while using their device, hence we would like to achieve a model that activates our perceptual senses and allow for a person’s true personal space to be realised.
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Response to “Lost in Parameter Space?” (Scheurer, 2011)
It has taken a long time for architecture designs to move away from paper form towards digitalisation, and because of digitalisation, architects have showed an increasing interest towards mathematics and its abstract concepts, which can be applied to architectural design. With the use of digital software such as Rhino with NURBS, we can model abstract and complex forms, allowing us to reproduce precise and defined shapes through control joins and presenting virtual information on a whole new level. While modelling our work, we move towards ‘abstraction’ and let our ideas and visual information become digital, however controlling it within our own scope of knowledge. For example, how our model would be presented with different materials, and how that could affect the design of the work. This is seen through our work in module 1, where we relied on the mathematical context of control points in Rhino to generate a digital model of our work, a process that is less limited to the physical model. To refine our model, we use reduction, and that is to reach the optimal solution without altering any contents of our work. This can be broken down into 2 processes: normalisation and optimisation. Normalisation is the elimination of redundancies and though this is a slower process, there is a high possibility of manual intervention. Optimisation is about cleaning-up the model and making it as simple as possible, however with this process it is impossible to go back. We have experienced this in M1, where through our sketches of our model designs, we refined our design, based on our knowledge of materials and Sommer’s reading on personal space, however at the same time, there were designs where we reduced the amount of complexitiy and relied on the model’s simplest form to achieve our visual representation of our design. However, despite us moving towards digitalisation, there is still a grey area to how we present our models with the reliance of computer-aided programs. To some extent, our digital designs still require the use of human intelligence.
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2.2 Design proposal v.1 Volume, Repetition, Porous, Connections
Cylinder
Reflect faces
Cutting Geometry
Front Elevation
Unroll the Developable Surface
Top Elevation
The user’s frontal vision is obstructed with the piece itself, however we have made sure that they are able to see through the pieces, so as to prevent harm to the user, but still restrict their access to their phone.
We decided to focus on creating something volumetric that would allow the user to have a bit of personal space towards the frontal area, as this was where our group deemed most important to us, but also we were able to restrict the user from phoning, but at the same time not compromise their frontal vision. These shapes were formed from using our pleat design theory, and folding these into smaller components that would be able to join together.
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2.2 Design proposal v.1
Side Elevation
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Front Elevation
2.2 Design proposal v.2
Ditgital models
Sketches
we added a expandable device, where it spreads out similar to how a peacock would to attract the other sex. This instead, is used to attract other people, and stop them from using their phones, so as to increase interaction. Although spatial invasion is perceived when we realise the other individual is a ‘person’ (Sommer, 1969), we are able to decrease or even nullify this effect, when we increase the mutual grounds between these individuals, and that is by communication and interacting with one another.
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2.2 Design proposal v.2
Side Elevation
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Front view
Front view (when back part is opened)
2.3 Precedent Fig1 Curved-Crease Sculptures: Self-Folding Origami by Erik Demaine
We took to paper fashion to see how folded structures could occupy space. One of the precedents that we looked to was ‘Origami dresses’ by Mauricio Velasquez Posada, where we looked at how the repetition of elements were placed and overlaid upon one another to create depth and volume, as well as intricate details in shadowing and lighting that helped generate its visual effects.
By accumulating the curved creases, the whole structure will suffer tensile forces to bend and distort by themselves to create a three- dimensional sculpturelike shape and then through combining and organizing these components by winding or joining each of them, a new complex can be created.
Fig.2 ‘Origami dresses’ by Mauricio Velasquez Posada
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2.3 Precedent Fig3 Japanese Fashion Designers: PLEASE PLEATS by Issey Miyake
The ceiling design inside the Shanghai tower also use the duplication of stripes elements, which gives people a sense of depth visually. The further the stripes, the denser they might look. This gives me some inspirations to apply same elements to my second skin design.
The fashion design by Issey Miyake shown in the photo was created basing on pleats, which creates a stripe patterns and shadows.
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Fig4 Shanghai tower in pleated aluminium for Soho China (Photograph by Jerry Yin)
2.4 DESIGN PROPOSAL V.3 Pleat Using the idea of developable surfaces, we incorporated our material system of folding and panelling with techniques used in ‘curved folding’.
We tried modeling our model using different panels and placing them so that they would form a shape that would obstruct the user’s frontal vision, to prevent them from phoning. Using cartridge paper, we cut out simple strips and pieced them together with blu-tack to trial out different patterns. we used the pleat design and simply rotated and enlarged some panels more than others, however we found that despite being able to limit the user’s vision of their phone, we were not able to create a volumetric design as it was a design that had less framework, and was more focused on aesthetics.
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2.4 DESIGN PROPOSAL V.3
Perspective
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Front Elevation
Side View
2.4 DESIGN PROPOSAL V.4
For previous models of design V.3, where we used the pleat design and simply rotated and enlarged some panels more than others, however we found that despite being able to limit the user’s vision of their phone, we were not able to create a volumetric design as it was a design that had less framework, and was more focused on aesthetics. So we improved for V4.
We duplicated a certain component that we shaped based off the pleat design and rotated it as well as copied it in various shapes to experiment the visual qualities they presented. We aimed to try and create a volumetric space between the user and the model. Our final model, was arranged by intersecting some of pieces together. These panels are positioned so that they do not obstruct the user’s vision, similar to our first design, but also restricts the user’s arm movement to a certain degree, to stop them from phoning.
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2.4 DESIGN PROPOSAL V.4
Front Elevation 32
Side Elevation
2.5 Prototype v.1+ Testing Effects We chose to use white polypropylene. After cutting and etching by laser cut machine, we get our single piece then we rotate and duplicate it to form more complex shape. Then again, we duplicate this shape to get our final prototype. The central of these pieces is the volume where people can wear in. We test the different effects before and after the piece folded along creases. After the pleats are created, the surface becomes more curved by themselves and if we cast light from one side, the pleats facing to the light are glossy while those backside pleats are gray, so the white and black pattern is created under the spotlight.
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3.0 FABRICATION Our design composes of investigations into curved folding, and we emphasized on the curvatures and layering of elements to create a second skin that would limit the users arm movement and encourage frontal view on their surroundings instead.
In the M3, we changed our material to clear polypropylene to create translucent and overlaying effect. By adjusting our templates and reorganizing the components, we tried to make our model to fit model’s body better. Because the overall shape is controlled by our single unitis. Besides, the joint between each two pieces is a difficulty. We did a lot of tests to deal with the connection issue.
Alison Fong, Yueting Yang, Tong Wu (830833, 813076, 810226)
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3.2 Design development & Fabrication of prototype v2
White polypropylene
Clear polypropylene
Firstly, we adjust our material to clear polypropylene. On the one hand, the clear material can create a semi-transparent effect, on the other hand, the clear one is less ‘solid’ than the white one, which gives people a feeling of light-weight visually and psychologically. We do the comparing test both manually and digitally.
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3.2 Design development & Fabrication of prototype v2 The effects we want to achieve were formed from the visual elements of the layering formed from the curved foldings of our second skin. As we found that although white gave us a more finished appearance, it did not give the same see-through qualities that clear polypropylene gave us, which would enhance the sensory effect of the user’s ability to ‘see yet not be able to see clearly’ their phone through the layers of material.
Through the translucent materials, the overlapped part and an vague outline of the body can be seen but not clear. They are implied and at the same time hiden under the second skin.
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The overlapping effect
In our digital model we further adding on elements of overlapping towards the left side of the upper torso and the rightside of the lower part, to create volume in our second skin. Our design also combined our pleat design modules that were rotated around the body, to form enough space for our model in between.
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3.2 Design development & Fabrication of prototype v2
In order to expand the space for people to take in or wear the structure in a more comfortable way, we cut one corner of the template, so the side facing out is sharp while the side inward is smooth.
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Polypropylene offered a strong and flexible form to our design. This enabled us to include several different curved forms as well as corrugations within our design.
The diagram shows the improvements of the template through the design process. The type of template also affets the shape at the top point. All the untis towards out is more defensive. Inversely, if thet gather at the shoulder, which focuses more on the body.
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3.2 Design development & Fabrication of prototype v2 Another thing that we tested on was the scale of corrugation. From our first few prototypes, we examined the amount of corrugation in scale and found that despite the smaller corrugations creating a more compact and detailed appearance, it did not provide us with the level of depth in folding compared to the larger corrugations, and the larger folding proved to be more easier to manipulate and control, giving us more flexibility. We found that if we use standard units with all same size, the crossing point is always at the centre of human body, which dose not fit the proportion aesthetically so we try to adjust the size of the units to move the crossing point to the 1/4 of the width of figure.
Our first try on proportion is 2:1 but it does not work properly. 40
1:1
2:1
We tried several different ways to enlarge and enrich the personal space. At first, we try to rotate, duplicate and overlap the pleats at the crossing point, although the digital the model looked good, the physical model shows different quality. If all the bending forces gathered at the crossing point,it would make it very weak both physically and visually.
Weak Joint 41
3.3 Design development & Fabrication of prototype v3 Our final design features an overlay of elements, with an improved format, where we had eliminated our central focus of the pleats in front of the body, and moved it to the side to loosen up the focus on front of the design. As we focused on more on the user’s dominant side of the second skin, we used our overlaying elements not only to create a volumetric space, but also to limit the viewers downward sight, where we borrowed the semi-transparent blur of the polypropylene.
Sketches Design
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Top view
Perspective
Front View
Left View
Back View
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3.4 Final Prototype development + optimisation
In our 2:1 prototype, our model turned out to be too big and due to the stress from the stretching of the units as well as the model trying to fit to Vera’s body, we saw that the flaps ended up overlapping over one another towards the longer end, which was something we did not expect. So we tried to resolve this by reducing even more material the same way we approached the shorter end and we ended up with a much more curved and dynamic form compared to our very first design.
Another problem we encountered during our fabrication process, was how to ensure that the end of pleats do not overlap over one another. This was resolved by constantly changing our 2D template. Our first attempt was to reduce the material on the shorter end, so when we folded it in, it would not create a sharp, pointy edge, which not only took up space within the model, but also would not have been a comfortable fit for Vera.
We also found that when the model was placed onto Vera's body it would stretch, being pulled in tension in two ways, leading to some of our corrugation flattening out.
Pointy tip
Oversized model, ended up stressing units
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The general shape can be completely different once we adjust the template because our model is composed by similar units following one rule. Therefore, if we want to change the overall appearance, we need to change our basic shape
1:1 template
1:2 template
1:1.3 template
Crossing point is in the
Crossing point is close to
Crossing point is off the
center.
the shorter side.
center.
Small inner space
Moderate inner space
Larger inner space
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Reading Response Wk 6 Architecture in the Digital Age - Design + Manufacturing/ Branko Kolarevic, Spon Press, London c2003
Briefly outline the various digital fabrication processes. Explain how you use digital fabrication in your design?
Digital fabrication processes include subtractive (removing of volume), additive (incremental formation) and formative fabrication (restricting forms). These methods are achieved through different machinery and technology. For subtractive fabrication, the use of laser cutting and CNC Figure 5. Plasma-arc CNC (Photo: Kolarevic)
rout are one of the most common and easily accessible methods. Additive methods included 3D printing. Formative fabrication can be achieved by robotic arms such as robofolding or robo-laying bricks. We use digital fabrication to create a 2D units of our work, which we then fold to become 3D, and connect them together to create our final piece. Using Rhino, we created a flat plane unit that we laser cut and join together.
Templates been cutting out.
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Reading applied to design
How does the fabrication process and strategy effect your second skin project?
Our design strategy is based on decomposing a 3D digital model into a 2D template and then sending to the lazer cutting robot to cut the large piece of polypropylene sheet to many flat shapes that we want, finally folding it back into 3D model in the real world. This means that we create a single unit that is then multiplied and then folded up by hand. This allows for simpler and time-efficient method of fabrication. Furthermore, we created those pleats by tracing lines etched by machine. If we did this manually, we could not draw such smooth curves or etch the polypropylene sheet with equal and stable force. The digital methold of fabrication enables us to make more
Template drawn on Rhino to create prototype.
accurate and exquisite physical models.
(Black lines= cut, Red lines= etch)
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Reading Response Wk 7
Digital Fabrications: architectural + material techniques/ Lisa Iwamoto. New York: Princeton Architectural Press c2009
Describe one aspect of the recent shift in the use of digital technology from design to fabrication? Digital technology has allowed us to “narrow the gap between representation and building” (Iwamoto, 2009), creating a preview for our design in reality. However, apart from designing, it has also allowed us to experiment with the fabrication process, and allowed architects to take over procedures that were once done by builders or engineers. One of these methods included tesselation, which is the “collection of pieces that fit together without gaps to form a place of surface” (Iwamoto, 2009). Working digitally allows for a more seamless production and experimentation on complex forms and surfaces, whilst reducing manual labour in the process. An example includes Buckminister Fuller’s ‘U.S. Pavilion’ in Montreal Expo 1967.
Fig 6. Buckminister Fuller ‘U.S. Pavillion’, Montreal Expo 1967 Photo: Rodrigo Maia, 2014
They created a geodesic dome that was built base on a variety of tessellated patterns; using triangles and hexagons to provide structural stability and obtain material efficiency, using only steel tubes to create a lattice structure.
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Reading applied to design
Referencing from the lectures and readings, what is the implication of digital fabrication on your design ?
Of the three methods that was mentioned in Iwamoto’s “Digital Fabrications: Architectural and Material Techniques” our design relates most to the folding, where we made a “flat surface into a threedimensional one” (Iwamoto, 2009). This relates to our curved folding systems and allows us to create visually appealing aesthetics, while being efficient with our materials. In Week 8’s Lecture, it was mentioned how digital technology has allowed architecture to create our own systems and pieces, generating unique pieces, unlike mass production that was realized in the past with Industrialization. This is exactly what our second skin project envisions: the creation of customized products.
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3.4 Final Prototype development + optimisation JOINT DEVELOPMENTS We chose to use string as our main joint material, because it allowed for a flexible joint to be created. Unlike rivetting, which would have required us to overlap our material, although it would have created a fix joint, it would have compromised the flexible movement we wanted out model to produce.
We stitched the pieces together using an intricate method, which involved alternating the string from one end to another to create a criss-cross pattern that would maintain the strength required to connect the two pieces, but also allow for flexibility of the two pieces to bend inwards and outwards.
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Finding that string did not work for our larger joint connections we tried to use thicker string as well as metal key rings to hold them in place, but still found them not as stable or would either be too difficult and time consuming to work with. Riveting was also an option that we tried, however, we found that it was not able to withstand more than 2 layers of our polypropylene and at most could take only two.
Then we tried cable ties, however they look like being detached from the main structure so we finally decide to use several layer of thin strings to replace all the cables which we found provided the stability we required and was able to join more layers of polypropylene than we needed. It was also flexible in the scale of connections it gave us, allowing us to solve our issue of the units being pulled too much in tension and collapsing onto each other.
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3.5 Final Digital model
We enlarge the end side of the model to take up more space
For the final design, we found that the backside of the model is more complex, interesting and atheistically work better so we flip the front and the back.
prototype v3 52
Final digital model
Front view
Plan view
Perspectivve 53
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3.6 Fabrication sequence
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Single units
Bending to create pleats
Combine the mirrored units
Drill holes at the edge
Sew up the joint
Testing the bending
Put 6 units togther
Units before join together
Bend the Structure
Using cable tie connect the ends
Getting one core component
Another smaller one
Joining two large components
Finally tie them together
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3.7 Assembly Drawing 1
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3.8 Completed 2nd Skin
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Light Effect When we took the photo, we can adjust the light to achieve different effects because of the special characteristics of clear polypropylene. When we cast light from the side, the light mainly diffuses and reflects on the surface of polypropylene, which makes the polypropylene looks white, less transparent and more ambiguous the body boundary is. While, when we choose to set the light just behind the model, the second skin looks grey, more translucent and shows the body outline more clear. The light penetrates the structure.
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Diffusing & Reflection
Penetration & Translucence
Function We want our wearer to pay more attention to the surrounding and also we want to enhance the relationship between body environment and natural environment. The second skin, to certain extent, limit the right hand to use mobile phone but not strictly so it is very comfortable and convenient to put on. The material act as a buffering structure or interface between the outside environment and body’s boundary both physically and visually.
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4.0 REFLECTION Folding stool is our start point. Based on this normal object, we abstract the folding principle by doing a series of analysis through measurements and drawings. During this process, I come to realize what designers can do is to observe and summarize the rules behind objects or phenomenon in our daily life to create new things and conduct design work step by step, basing on these principles we found.
Further research is required in order to develop our design. There are two prime folding systems, rigid folding and curved folding. Usually, rigid folding can be simulated digitally by analyzing forces direction and the movement of different panels. Kangaroo is a plug-in for grasshopper which can apply real world physical conditions to digital model. This method works well on rigid folding. Through the lectures and Portmann’s readings (2007) - Surfaces that be built from paper, we learned the differences between doublecurve surfaces and developed surface. Curved folding panels belongs to the latter, which is also called ruled surface.
Pleats are the way that we finally decide to use to achieve curved folding. We have tried reflection method to create single component as Fig.7 shows but we finally give up this proposal. Inspired by the concentric circles curved folding research done by Erik Demaine, I found that when paper folded along a number of pleats, they fold up and twist by themselves so I extract a part from concentric circles so when we create the pleats, they will distort by certain angle but will not twist too much as Erik’s work. By connecting this basic units, we then made another more complicated complex.
Fig7 Relection method to create curved folding
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Fig8 Self-Folding Origami by Erik Demaineshape
Fig9 Units from concentric circles
Craft Vs Digital: Curved folding is much more complex than rigid so we do both physical and digital models to test our design. In the digital model, we can change our template to easily adjust the overall shape. Parameters can be controlled in rhino includes height, width, density of pleats and scale, etc. However, sometime digital ways failed. Polypropylene is sort of soft material, but we cannot simulate this in the rhino, the first time when Vera put on the structure, the crossing point is too weak to collapse so we have to adjust the proportion according to the dimensional data of Vera. Therefore, craft is still a very important and useful approach in terms of experiment and fabrication. Fig10 Joint cracks
Fig11 Parametric control in rhino
Joint is a key factor when we made our model, which is another element hard to test in rhino. We need to figure out a way to connect our model, otherwise, we cannot make it looks like what digital model is. Furthermore, a very huge joint or a joint does not fit our main structure might destroy the pure articulation of the design language, so a well-designed connection is important because when comes to the fabrication, the detail usually determines the quality.
Design intent is a primary factor that we concern when we start to design and it motivates us to revise and improve our designs. We want the user who wear our second skin can be more awareness of the surroundings instead of constantly check their smart phone. We also want the second skin create more connections between the outside environment and the body environment. The translucent material works well to hide part of the body but at the same time, we can still notice a not very clear outline of figure in an ambiguous way.
Female model (Vera) is the wearer. The second skin needs to fit her body as architecture is required to fit their site. We intent to create a sense of feminine and elegance so we choose the fluid curve. Besides, it is convenient and comfortable to put on because of the soft and light weight.
In summary, folding and paneling is the approach which determines the form we use, while to achieve the effects and our design brief that we anticipate is the destination. Both digital method and doing craft manually played an essential role during our design process.
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5.0 APPENDIX
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Rigid Folding research done in Kangaroo
This was research and experimental shapes done on folding techniques using rhino and grasshopper.The folding process is actually exerting force on the paper
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CREDITS
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Reference
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 Sommer, R. 1969. Personal space : the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J. :Prentice�Hall, c1969.A Iwamoto, L 2009, Digital Fabrications: architectural + material techniques, Princeton Architectural Press, New York. Kolarevic, B 2003, Architecture in the Digital Age - Design + Manufacturing, Spon Press, London. 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
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List of Figures
Figure 1. Demaine,E. (2012).Curved-Crease Sculptures: Self-Folding Origami. Retrieved from https://laughingsquid.com/curved-crease-sculptures-self-folding-origami/ Figure 2. Posada, M. (2010). Origami dresses [photograph]. Retrieved from http://makezine.com/2010/04/19/origami_fashion/ Figure 3. Miyake, I. (2013). Japanese Fashion Designers: PLEASE PLEATS [photograph]. Retrieved from https://universotokyo.com/2013/02/03/ please-%E3%80%8Cmore%E3%80%8D-pleats/ Figure 4. Kuma, K. (2016). Kengo Kuma dresses Shanghai tower in pleated aluminium for Soho China [photograph]. Retrieved from https:// www.dezeen.com/2016/07/15/hongkou-soho-tower-kengo-kuma-shanghai-pleated-aluminium-soho-china/ Figure 5. Kolarevic, B 2003, Architecture in the Digital Age - Design + Manufacturing, Spon Press, London. Figure 6. Maia, R. (2014). U.S Pavillion/Montreal Biosphere [photograph]. Retrieved from http://www.archdaily.com/572135/ad-classics-montreal-biosphere-buckminster-fuller/546a754de58ece7d25000036-rodrigo_maia-jpg Figure 8. Demaine,E. (2012).Curved-Crease Sculptures: Self-Folding Origami. Retrieved from https://laughingsquid.com/curved-crease-sculptures-self-folding-origami/
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