D I G I TA L D E S I G N FA B R I C AT I O N S M 1 2 0 1 7 M
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AMANDA-GROUPF
Y U X I N J I A N G 7
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M1 IDEATION
1.1 OBJECT 1.2 OBJECT + SYSTEM ANALYSIS 1.2 VOLUME
M2 DESIGN
M3
2.1 SKETCH DESIGN FROM M1
3.1 FABRICATION INTRO
2.2 DESIGN DEVELOPMENT 1 PERSONAL SPACE
SCENARIO
3.3 DESIGN DEVELOPMENT & FABRICATION OF PROTOTYPE V3
DIAGRAMING PERSONAL SPACE / READING RESPONSE
3.4 FINAL PROTOTYPE DEVELOPMENT + OPTIMISATION
SKETCH DESIGN #1, #2, #3
SKETCH MODEL #1, #2, #3
DIGITAL MODEL #1, #2, #3
2.3 PRECEDENT RESEARCH
FIRMAMENT, ANTONY GORMLEY
BEIJING BIENNALE CUBE, OYLER WU COLLABORATIVE
ESCAPISM, IRIS VAN HERPEN + DANIEL WIDRIG
2.4 DESIGN DEVELOPMENT 2-- PRECEDENT APPLIED TO DESIGN
DIGITAL MODEL #1
DIGITAL MODEL #2
PROTOTYPE FOR #2
DIGITAL MODEL #3
2.5 FINAL DESIGN DEVELOPMENT
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3.2 DESIGN DEVELOPMENT & FABRICATION OF PROTOTYPE V2
1.3 SKETCH DESIGN PROPOSAL 1.4 M1 REFLECTION
FABRICATION
FINAL DESIGN SKETCH
FINAL DIGITAL MODEL
FINAL PROTOTYPE
TESTING EFFECT 2.6 M2 REFLECTION
3.5 FINAL DIGITAL MODEL 3.6 FABRICATION SEQUENCE 3.7 ASSEMBLY DRAWING 3.8 COMPLETED 2ND SKIN 3.9 M3 REFLECTION
M4
REFLECTION
APPENDIX 5.1 CREDIT 5.2 BIBLIOGRAPHY
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Measured Drawings
MEASURED DRAWING PROCESS The folded umbrella was photographed from different views and created the drawings from the photographs. Some of them were tracing a printed photograph. Based on the photographs, I was using pencil to define the outline of the object, then move forward to the detail drawings with the dimensions measured from original object rather than the photograph.
DRAWING 1
TOP VIEW
ELEVATION
BOTTOM VIEW SCALE
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1:2 @A4
DRAWING 2
BOTTOM VIEW
TOP VIEW
ELEVATION
PERSPECTIVE SCALE
1:10 @A4
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DRAWING 3
DRAWING 1 Photograph + freehand DRAWING 2 Photograph + trace drawing DRAWING 3 Photograph + measuring outline
SECTION
DRAWING 4 Original object + measuring details
Drawing 1,2,3 are based on the photographs. The limitation is shown in the measured drawings such as the drawings need the support of the photographs to express the “essential felling� and nuances of the object (Heath, Heath, & Jensen, 2000). For drawing 4, I measured the original object directly and do the measured drawing without photos. It makes the drawing more accurate and avoids some nuances.
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SCALE
1:10 @A4
DRAWING 4
STRUCTURE DETAILS
SCALE
1:1 @A4
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Analysis TOP NOTCH
CAP
STRETCHER RIB RUNNER CANOPY
SPRING TUBE
10 3 2 7 8 11 A 1
6 4
B
C
D
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F
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COMPRESSION (STRUCTURE) TENSION (CANOPY + STRUCTURE)
DETAIL JOINTS
SYSTEM ANALYSIS By analysing the umbrella,the main system of the object can be considered as SKIN + BONE
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F+CANOPY
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F+D
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F+E
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D+A
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D+C
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E+C
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A+B
8:
B+C
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B+RUNNER
10: A+TOP NORCH 11: A+CANOPY
STRUCTURE
CANOPY
The structure of the umbrella is consisted of the 8 bones. Those bones are foldable by unique joints. The main function of the structure is supporting the canopy. Considering the umbrella mechanics, the tension and compression are transferred from the bone structure.
The canopy is considered as the skin of the umbrella. The main function of the canopy is protect the user avoid the rain. The canopy is divided in 8 same triangular parts. The pieces are placed between the bone structures.
BONE
SKIN
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Digital Model
BOTTOM VIEW
TOP VIEW
FRONT VIEW
DIGITAL MODELLING PROCESS
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•PLACE the measured drawing (image) as the background
•Complete detail joints by LOFTING circles
•Based on the one bone
•Change the SCALE as 1:1 in the rhino
•Identify different components
•Use ARRAYCRV to make 8 same repeat bone
•Use POLYLINE to trace outline of the detail pieces
•ROTATE and MOVE them to be connected
around the central circle
•EXTRUDE the traced line to create the volume
•One 3D bone done
to create the whole umbrella structure
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PERSPECTIVE VIEW 1
PERSPECTIVE VIEW 2
PERSPECTIVE VIEW 3
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•Define the POINTS on the bone
•Complete the details of the umbrella
•Add related MATERIALS for each layer
•Use POLYLINE and CURVE to draw a curve and a polygon
•Create different LAYERS for different elements
•Rendering the final model
•Use RAIL REVOLVE to create the surface over the structure
•change style of the view as RENDERED
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FRAME------------BONE(HORIZONTAL) PINS---------------BONE(VERTICAL) LINES--------------SKIN(TENSION)
I got the inspiration from my previous work which demonstrates the SKIN + BONE system. The timber frame can be considered as the main bone structure. The pins are joints to connect the skin and bone, also it can be the vertical bone. This skin is not known as the typical surface skin, however, the string in this model has the similar characteristic which is tension control in the SKIN + BONE system. For further design. This sketch model can be scaling and repeating in the model to create the personal space.
INDIVIDUAL SKETCH MODEL
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Sketch Model
VOLUME IN-CLASS MODEL SKIN+BONE GROUP
The class model of our group is made by various puzzle pieces and elastic fabric. • Play with the puzzle pieces to create some small BONE components • Place the BONE components on our model and connect them • Add the elastic fabric as SKIN between BONEs to make the structure more stable • Use the rest fabric to bend BONEs along the arms to create the floating and flexible arm structure.
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#1
#2
#3
#4
COLLAPSE
WEB
SHADOW
NEGATIVE SPACE UPSIDE DOWN
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Sketch Design
FIG.4 CASTING THE INVISIBLE --- YASUAKI ONISHI
FIG.3 CHIHARU SHIOTA
The last design is inspired from the Yasuaki Onishi’s installation design CASTING THE INVISIBLE. Create an upsidedown space along the people’s arms. This personal space is much more emotionally than physically invisible. In order to represent the “invisible“personal space visually, the material of this project is light and transparent. The hanging string --- bone The soft surface --- skin
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FIG.2 FROZEN SPIDERWEB
FIG.1 ROCK+MELT
“The violation of individual distance
“A nonperson cannot invade some-
is the violation of society’s expecta-
one else’s personal space any more
tions: the invasion of personal space
than a tree or chair can.”
is an intrusion of a person’s self-
--- Sommer, 1969
boundaries.” --- Sommer, 1969
The key word of this quote is DISTANCE. Based on my understanding of the distance, I found desistance of the SHADOW can be considered as a personal space. I think the individual shadow is a unique space for everyone. There are no same shadows in the world which also represent our personal spaces are different. Shadow boundary --- bone Hatch of the shadow --- skin
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Refer to the Sommer’s quote, the “NONPERSON” is a key idea in this design. My second design is inspired from the natural environment. In order to create a “nonperson” space, the main elements in the design is spider web and the branch.
This idea comes from the dilapidated concrete column. Home, a building, a family space. I choose the column from the “family space” as the main concept of the personal space. The personal space may easier to be destroyed like the dilapidated concrete column. The reinforcement --- bone. The concrete --- skin.
The branch --- bone The string is --- skin
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M1
REFLECTION
My object is an umbrella which is a mundane object in our daily life. However, I never explored the system of umbrella. After the exploring from the M1, I realized the complexity of the umbrella system --- its skin and bone system. According to Heath et al. (2000), I have try several measured drawing with different drawing techniques to achieve a higher accuracy. The measured drawing also well guides the digital modelling process. The M1 exercises prompted me to explore the structural and material system in the object. It shows that the measured drawing is not only to teach drawing techniques, but also to demonstrates a better understanding of the original design principals (Heath et al.,2000). Based on the exploration of the skin and bone system, I was able to develop my design proposal of my project with some precedent’ studies. By applying the logic from the system, the more possibilities of my design have been studied. Overall, M1 gave me a general sense of design, and made me start to think about the further detailed design.
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SECOND SKIN PERSONAL SPACE
1 M1 REVIEW AND DISCUSSION
2 DESIGN DEVELOPMENT 1
DESIGN CONCEPT
PERSONAL SPACE CREATE A SENARIO READING RESPONSE
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SKETCH DSIGN
SKETCH PHYSICAL MODEL
SKETCH DIGITAL MODEL
DIGITAL DESIGN + FABRICATION T13 AMANDA MASIP G6 XUEXEI LIU YUXIN JIANG CHEEJONG WO
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4 PRECEDENT RESEARCH
DESIGN DEVELOPMENT 2
FINAL DESIGN DEVELOPMENT
FINAL SKETCH DSIGN
FINAL DIGITAL DSIGN
PROTOTYPE DEVELOPMENT
FIRMAMENT --ANTONY GORMLEY
BEIJING BIENNALE CUBE -- OYLER WU COLLABORATIVE
TEST EFFECT
ESCAPISM -- IRIS VAN HERPEN + DANIEL WIDRIG
PROTOTYPE TEST
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2.1 SKETCH DESIGN FROM M1
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-from Shirley (XueWei),we get a flexible 3D network structure that is based on repetition of similar geometry and can be randomly extended in all direction -the idea of geometric network structure as a exoskeleton system with interior flesh-like skin structure challenged the normal perception of skin and bone material system and worth further development in our future design -using simple geometry to create a complex, dynamic form that looks random, but there would be certain orders behind
-from Yuxin, we decided to develop her sketch model as a different interpretation of SKIN and BONE system -the SKIN structure had be integrated with the bone as a whole so that the boundary between skin and bone becames more vague -this is an easy and effective manner to test the pattern and density of the SKIN by applying the cotton thread layer by layer -density would be a focus point for later design development in order to strengthen the most sensitive area of personal space
-from Cheejong, the gridshell/waffle had been taken forwards for development as the waffle system can be developed to cover or span a great area -this sketch design can facilitate further design in a more structural aspect -no matter what the design may look like, there must be a structural component, even if it looks invisible
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2.2 DESIGN DEVELOPMENT 1 PERSONAL SPACE -SCENARIO
TRANSPORTATION MELBOURNE
I am a 16-year-old girl I was born in Melbourne and live here since then I study hard but I often catch up with friends as well ENJOY MY LIFE I truly love Melbourne However Where I live, where my home is, is very, very far fr om my school I spend so much time on transportation every day Tram is always packed Strangers incautiously touch my body, bump my shoulders, arms, even chest, and it is inevitable in a 120% full tram I know that But I’ve had enough A group of young man just finish gym and they are sweating a lot in this crazy hot Melbourne summer and they just smell like a box of stinky fish and I am standing right next to them Understandable But fairly enough Suffocated atmosphere wrapped around me when 200 people jam all together into this little box and the driver sets the heater at more than 20 degrees in winter I cannot even breath I’ve had enough Where is my PERSONAL SPACE Can I have any personal space on public transportation I don’t want to have such unpleasant experience to my nose and body every day At least Reduce it a little bit Let me Have a little bit space to breath
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PERSONAL SPACE
The left water color drawing demonstrates the idea of our thoughts about personal space.
Generally, the closer to the body, the more sensitive the would be (visually illustrated in color, the darker, the more sens this can be noticed in daily life that people seem be more cautio of their personal space when someone gets close to them, namel is intrusion, personal space is more likely to be considered.
That is the most important reason for us to create a scenario for the pro more specific and determined about the design synthesis.
WHAT DO WE NEED TO DESIGN? WHO ARE WE DESIGNING FOR? WHY WE NEED IT? WHEN AND WHERE CAN WE USE IT? Personal space exists all the time, but you will probably not realize it if you stay without any interruption. On the contrary, people tend to realize and consid there is lack or intrusion of personal space. From this point of view, start from o aim to design a 2nd skin wearable equipment that can be used protect an space.
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space sitive) and ously aware ly, when there
oject. We could be
y alone in a large space der personal space when our specific scenario, we nd maintain our personal
These two drawings on this page illustrate what we define as the most sensitive personal space that we want to maintain within the scenario. Chest, shoulders, neck, mouth and most importantly, the nose. Odour is not the physical intrusion but it often associated when there is lack of personal space, hence, nose would be the focal point among the sensitive space we define. We target to produce a sensorial effect by considering the scale, density, complexity into design to strengthen the personal space.
READING RESPONSE LOST IN PARAMETER SPACE? “Rather than eradicating the need for mathematics in architectural practice, computation has intensified it.“1
--Scheurer and Stehling
Computation help facilitate the entire design in various aspects. As demonstrated in the reading, computational design can help realize designer’s abstract idea into reality, define more dynamic and morphological forms into architectural design, optimize the materiality and also draw a better visual effect into details2. With the assistance of computation, we can realize our design motif in a more effective and precise manner. Computational design, such parametric design, should be aimed for facilitating our design. We, as designers, still need to create and develop our conception instead of purely relying on computers. Design ideas and concepts are generated by us, while computation aims to optimize our ideas. We are the generative “equipment“ that provides the ideas, the computers are not.
1 Scheurer, F. and Stehling, H. (2011): Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 (4), July, pp. 70-79. 2 Scheurer and Stehling, Lost in Parameter Space?.
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SKETCH DESIGN #1
The first sketch design aims to define personal space by using variation of small skin elements to create a thread pattern/ density effect. The simple geometrical element can then produce a certain space for enhancing the idea of personal space by rescaling and arranging the elements in a defined order. In this case, the SKIN will be the attached small pattern pieces while the structure underneath will be the BONE that holds the skin and it tends to be invisible.
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SKETCH MODEL #1 #1-MATERIAL TEST
HEMP ROPE
STRING POLYTWINE
STRING FINE BLACK
same pattern is applied, but different materials are used to test the effect generated by different materiality the thin cotton thread produces the best outcome. It shows clear pattern and enhances the density 33
SKETCH DESIGN #2
-SELECTED-PATTERN SET - after a number of tests with different hatching, this pattern set was chosen -although it is just the simple radial form, it can provide different patterns and densities
This sketch design is developed from the first one by differentiating the scale and rearranging the order of each element. The proposed thread pattern set will be applied and overlaps will exist to vary the density of different areas of personal space. The BONE structure will be the frame of each SKIN element, hence, the skin and bone will be integrated and bone tends to be invisible when considering as a whole. 34
SKETCH MODEL #2 #2-PATTERN TEST THE TWO PAPER BASE MODEL FOR DESIGN PATTERN AND THE JOINTS TEST although the bottom one looks alright, but the radial one can produce more varied pattens when overlapping each other and considered to be more effective
random RADIAL THREAD crossed thread pattern VS raPATTERN dial thread pattern
RANDOM CROSSED THREAD PATTERN
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SKETCH DESIGN #3
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SKETCH MODEL #3 #3-STRUCTURE TEST
the iron wire is used to explore the form of bone structure it can help us archieve a more interesting and dynamic form by randomly playing with the prototype model these models investigate the possibility of skin and bone as a system of one material and undifferentiated between skin and bone the skin may play structurally to hold the bone in tension while the bone seems to be more flexible
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DIGITAL MODEL #1
TOP VIEW
BONE
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RIGHT VIEW
BONE + SKIN
STRUCTURE + SKIN + MODEL
BONE --- WAFFLE SKETCH MODEL SKETCH MODEL-WIRE SKIN --- A SERIES OF RECTANGLE PANELS the rotating/spiral form wraps around the body which will protect the most important areas we consider in personal space: chest, shoulder, neck, mouth and nose however, although it seems to well define and protect the personal space, it actually constricts the movement of the client that causes an non-igorable negative impact
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DIGITAL MODEL #2
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these models push forward the design to the homogeneity of skin and bone that these models consist of interconnected curves that span at different angle around the body the curves act as both skin (visually covering the body) and bone (structural support) this digital model we aim to test how simple linework can generate a certain volume and space around the body the volume created by these lines defines a certain space which brings out a spatial effect and meanwhile, the massiveness of these line complex even creates an emotional effect
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DIGITAL MODEL #3
TOP VIEW
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FRONT VIEW
SIDE VIEW
PERSPECTIVE VIEW
the waffle structure test explores more on the structure aspect in order to contribute to further design development of personal space personal space will be applied to the establishment of structure as it will hold the entire 2nd skin equipment, and it needs to be defined first as it will sit on the body however, the waffle structure will not be used for later design as it tends to create a more regular form, while we plan to create a more dynamic form for further development
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FIRMAMENT --ANTONY GORMLEY
Firmament is a series of structures designed by Antony Gormley. We choose one them as our precedent. The structure is a irregular polygonal structure, inspired the constellation as indicated in the name. Every joint somehow implied the location of each star in a constellation (the Firmament structure). HOW CAN WE USE THIS PRECEDENT TO OUR DESIGN The random polygonal structure has great similarity with Shirley’s design idea developed in Module 1. This can be developed into one integrated idea of a structure that can easily encompassing space and accommodate to shape by varying the number of sides and size of
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BEIJING BIENNALE CUBE -- OYLER WU COLLABORATIVE
The cube, the basic geometry, had been developed into a dynamic form. The structure was divided into 13 modules (cube -10 modules + 3 supporting modules). Each cube modules consisted of surfaces that divided into lines and twisting inside each frame of the module. HOW CAN WE USE THIS PRECEDENT TO OUR DESIGN The twisting structure can be together with the idea behind sketch design #1 and #2, be further developed into a more complex system. 2D hexagon can be transformed into 3D polygonal structure while weaving pattern of threads can become more complex within a 3D system.
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ESCAPISM -- IRIS VAN HERPEN + DANIEL WIDRIG
Escapism is a exhibition series designed by fashion designer Iris and Architect Daniel. The design theme is to escaping from everyday reality associated with the grotesque, the extreme and the fantastic. The distortion effects can be seen in some of the pieces. The one on previous page shown the idea of distortion of surface similar to a intensively folded fabric. The surfaces also divided into thin strips. HOW CAN WE USE THIS PRECEDENT TO OUR DESIGN The intensively folded surfaces can be seen as a further developed version of the previous digital model 2 where only strips that made up the structure. We also considered it as a one direction section of surfaces with folding forming the profile of the structure.
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2.4 DESIGN DEVELOPMENT 2
FRONT VIEW
ISOMETRIC VIEW
TOP VIEW
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DIGITAL MODEL # 4 BASED ON FIRMAMENT, ANTONY GORMLEY
WHY VORONOI? -VORONOI is very complex form of polyhedron that contains a series of inner structure and component -VORONOI matches our design concepts within the progressive design development: -a complex form created by manipulating simple geometries--a complicated massive structure but can be started from a regular element -density can be enhanced by continuing fractal in a recursive manner to differentiate the sensitiveness level of personal space -the sensorial effect -- spatial effect created by framework of polyhedron
The use of VORONOI can relate to our scenario as well. The change of density in VORONOI is actually the visual demonstration of personal space expression. We can imagine that a 3D VORONOI represents the space of a tram and the intersection within this VORONOI module refers to the passenger on the tram. If you are the only one on the tram, you will be less likely to realize your personal space and in this situation, the VORONOI structure will be relatively simplified and less inner fractal exists. When you are on a packed tram, your personal space has been intruded, you start to be cautiously aware of personal space and in this case, the VORONOI will become denser with more recursive fractal structure happens inside. 51
2.4 DESIGN DEVELOPMENT 2
FRONT VIEW
ISOMETRIC VIEW
TOP VIEW
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DIGITAL MODEL #5 BEIJING BIENNALE CUBE, OYLER WU COLLABORATIVE
The front view of this model is designed and modified
keep our concept, that we can use simple lines, simple
based on the Melbourne tram map. We develop our form with a focus on central Melbourne tram zone and we locate the central point at our most sensitive, intimate area of personal space --the nose, according to our scenario.
forms to create sophisticated outcome. The expression of density has been learned from the skin infill in the precedent. We enhance the intimate personal space with a higher density.
In this model, we still focused on the linework, but in a regular geometrical expression. It is interesting to see how simple lines can create such a complex volume, space and variation of density. We applied the cubic frame into our MESSY curve line model and it changed completely in form, but we still
BEIJING BIENNALE CUBE consists of a giant cubic form with a number of inner fractal structure that makes the entire piece look like an integration of smaller cubes combining all together. The variation of skin is represented by the differentiation of hyperbolic angles, directions and orientation which then integrates all together and produce a complex form. 53
VARIATION OF MATERIAL
BUILDING BONE STRUCTURE
SKIN DENSITY
BLACK STRINGS USED
SKIN APPLIED
SKIN PATTERN
ANOTHER LAYER ADDED TO EX-
FINE, DELICATE THREAD
TRANSPARENT FISH WIRE
CHANGING WEAVING
PLORE THE OVERLAPPING EFFECT
PATTERN CREATED
USED TO TEST EFFECT
ANGLES, DIRECTIONS TO
AND DENSITY DIFFERENCE
MORE EFFECTIVE IN BRIGHT
DELICATE, BUT CAN GEN-
CREATE DYNAMIC EFFECT
DIFFERENT ANGLES PRODUCE
ENVIRONMENT
ERATE A LIGHTING EFFECT
AND VARIATION OF DENSITY
DIFFERENTIATED RESULTS
two types of fish wires were used. although a certain density and complexity generated by this skin infill, the material selection was not successful as the fish wire is too thick and tough that it cannot create the complex, delicate patterning effect as expected. hard to maintain the balance between bone structure and tread patterning as fish wire requires much more tension to create a precise pattern than a cubic
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frame can hold
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PROTOTYPE OF #5
2 5
3 6 JOINT COMBINING COMPONENTS TOGETHER WITHOUT ANY GLUE DELICATE, HARD TO BUILD, BUT EFFECTIVE RESULT CAN BE PRODUCED
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2.4 DESIGN DEVELOPMENT 2
FRONT VIEW
ISOMETRIC VIEW
TOP VIEW
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DIGITAL MODEL #6 BASED ON ESCAPISM, IRIS VAN HERPEN + DANIEL WIDRIG
This model is developed from precedent #3, Escapism couture with intensive folding. We create an undulating surface around user’s body and divided it into hundreds of strips. We want to investigate the opacity of the structure in relation to the density of undulating/folding and number of strips divided. The elements that encourage we to further explore in this
direction is the complex profile that create a tactile effect as well as visual one. This design defined the personal space through different curvature of the surface. The visual effect can make people in surrounding realise the personal space of the user. 57
FINAL DESIGN SKETCH
SKETCHES TO TEST THE EXPRESSION OF INTIMATE PERSONAL SPACE This sketch design combines all three design ideas developed from precedents. With similar voronois and skin design from previous sketch, this design included the intensively folded fabric idea. The previous design is a neck piece, while this design adding the folding surface as a drape that cover larger area of body.
ESTABLISHEMENT OF STRUCTURE
SKIN PATTERN APPLIED TO PRODUCE THE DENSITY AND EFFECTIVENESS DECREASING SCALE TO REPRESENT THE MOST SENSITIVE PERSONAL SPACE
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REVERSE VERSION ENHANCE THE INTIMATE PERSONAL SPACE IN AN OPPOSITE MANNER BY ENLARGING THE SCALE WHILE INCREASING THE DENSITY
the structure is based on the voronoi that contains a series of inner fractal structure
hatching applied to explore the density of skin/infill
denser in colour to represent the higher density of pattern
different lineweights aim to differentiate the main structure and sub-structure inside
transparent/translucent material is planned to be used for fabrication in order to create a sensorial effect
greater density represents more intimate personal space
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FINAL DIGITAL MODEL
ISOMETRIC VIEW
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FRONT VIEW
TOP VIEW
BACK VIEW
SIDE VIEW
After a series of attempts and experimentation, this voronoi-based 2nd skin wearable equipment has been chosen for further development and demenstrated as our final proposal. structure -- bone -- voronoi form -- comprising of various of simple geometries -- idea coming from previous M1 sketch model and further developed based on the precedent ornamentation -- skin -- generating a sense of complexity and density by adjusting scale and layers of overlapping -- the expression of skin developed throughout the progressive design development sensorial effect -- the focus of personal space complement design scenario -- the variation of density creating
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FINAL PROTOTYPE In order to achieve the final design model, we make the prototype to simulate digital design. we decided to fabric it with cardboard and clear polypropylene and fold it for the effect test. we tested varies methods to build the fabrication format. ATTEMPT 1: UNROLL THE MESH OF THE ORIGINAL PROTOTYPE VIA GRASSHOPPER Based on the final design grasshopper script, we attempt to write a script ready for fabrication. However, there are some overlapped pieces.
ATTEMPT 2: UNROLL THE MESH OF ISOLATED CELL VIA GRASSHOPPER
Due to the result of attempt 2, we trying to isolate the cells before unrolling. The previous script is works well in the individual cell avoid overlapping.
ATTEMPT 3: SMASH THE POLYGON OF ORIGINAL PROTOTYPE IN RHINO Considering the final model fabrication, we test the Smash in Rhino. And there are 3000+ pieces for our prototype model. It seems that our final model will get over 10000 pieces.
ATTEMPT 4: SMASH POLYGON OF ISOLATED CELL IN RHINO In order to achieve the final design model, we tested the connection between the cells. We found that we have to measure the specific angle of adjacent pieces and make the joint based on the angle. We planned to use Perspex laser cutting pieces to build it. However, the laser cut job usually works with right angle, and it is hard to achieve multiple angles.
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l
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FINAL PROTOTYPE #1 --CARDBOARD
We decided to fabricate the prototype with different materials -- 1mm cardboard vs polypropylene in order to figure out what would be the better selection. 64
FINAL PROTOTYPE #2 --POLYPROPYLENE
With different materials used for final prototype, we explored and adjusted our method during fabrication. Different materials require different glue as they possess various features and propertities that may effect the fabrication. For instance, the polyproplyene can be able to produce the sense of transparency that allows us to explore more on variation of density and patterning, as well as lighting effect. However, polypropylene has high stiffness and rigidity which greatly constrains our fabrication. By fabricating with different materials, we could gain a better idea of materiality for next module and make better selection. 65
TESTING EFFECT
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5.4 TESTING EFFECT
Polypropylene generates a good visual effect of transparency that allows light to go through while blurring the actual vision. We can protect our personal space while still maintains certain communication with the public. The lighting effect seems to produce a mysterious feeling to the object. In our scenario, lighting will depicts a more appealing feature to the wearable equipment that helps our client to be more comfortable and enjoyable when experiencing with the 2nd skin.
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TESTING EFFECT
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5.4 TESTING EFFECT
Cardboard creates a strong sense of rigidity and stiffness. As experimenting digitally in Rhino, we tend to explore different effects and experiences produced by differentiated materiality. Strong contrast of visual and sensorial can be observed between polypropylene and cardboard prototypes. The cardboard indicates strong stability in structural aspect while polypropylene shows more possibilities and variation of effect. Further exploration on materiality will be commenced in next FABRICATION module in order to optimise our design. 69
REFLECTION OF SKETCH MODEL
The test prototype was generally considered as a failed attempt at this stage. By fabricating the prototype model, we could be able to realize the shortcomings and mistakes in our design, we could then modify our design in order to provide a more successful outcome at the end. Although the attempt was unsuccessful, we still learned things from it. We now had a better idea about the effectiveness of thread patterning; we gained more knowledge of materiality, how the material selection may cause an impact on the structure; we also had a play with the sensorial effect-- lighting effect with transparent/translucent materials. All the attempts may help us to develop a more thoughtful, reasonable and effective design. After doing this UNSUCCESSFUL attempt, we decided to regard design #5 while focusing on #4 as our final design.
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ALUMINUM + RED TRANSLUCENT MATERIAL
TIMBER + TRANSPARENT MATERIAL
ALUMINUM + BLUE TRANSPARENT MATERIAL
WHITE PLASTIC + WHITE SHEET MATERIAL
ALUMINUM + TRANSPARENT MATERIAL
CARBON FIBRE + TRANSPARENT MATERIAL
TESTING EFFECT
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M2
REFLECTION
In M2, we grouped with three people from two different systems. We started with discussing the ideas from section and profile, skin and bone. We discussed and combined the ideas from the two different systems in group meeting which was held every week. At the first stage, we create a scenario for clearing and defining the personal space. The specific site provided an opportunity of our further development. Due to our different fields in M1, we came up to various ideas, so that it was hard to determine the final design. In order to move forward, we started from the sketch design, sketch model and digital model to get more ideas. Both physical and digital modellings are good develop methods for the design. We created several iterations and the design concept became much clearer. The original prototype test gave us a general sense of the material selection and the structural performance. And more than that, I realized that digital model is extremely helpful to describe the overall form of the design because it is an easy and fast method to test design decisions. In addition, it saves materials and time, hence enable us to test more iterations on the human body. In M2, we determine the direction of our design after various attempts. We did the final digital model for the next module --- fabrication.
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DIGITAL MODEL FROM M2
FEEDBACK FROM M2 PRESENTATION:
-SCALE OF EACH VORONOI NEEDS TO BE JUSTIFIED
-MATERIAL CONSIDERATION
-STRUCTURAL COMPONENT
-SPECIFIC DIMENSION OF MODEL NEEDS TO BE
CARDBOARD
-POLYPROPYLENE SEEMS T
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-JOIN
PROTOTYPE #1FROM M2
FEEDBACK FROM M2 PRESENTATION:
CARDBOARD VS POLYPROPYLENE PRODUCES A SENSE OF SOLIDITY AND STIFFNESS
TO BE EFFECTIVE TO GENERATE LIGHTING EFFECT -LACK OF CONTRAST -NOT DELICATE
NTS/BINDING MATERIAL NEEDS TO BE CHANGED
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DESIGN DEVELOPMENT #1
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digital model has been modified scale of each voronoi module has been increased base shape maintains further develop the design based on scenario solid modules sit at the back to enhance the strong protection of the back hollow modules sit at the front--creating a sense of complexity and hence strengthening personal space feedback lack of transition between solid and hollow specific dimension to fit human body
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READING RESPONSE WK 6 Architecture in the Digital Age - Design + Manufacturing/ Branko Kolarevic, Spon Press, London c2003
3D scanning translation from physical to digital through a three-dimensional scanner and it involves not only physicals but also site surrounding environment digital fabrication: from digital to physical facilitate by programmed machine to produce a more accurate and higher quality outcome 2D FABRICATION CNC cutting that includes various fabricating technology such as laser cutters subtractive fabrication removal from solids with calculated volume of materials – 3D milling cutting additive fabrication the formation of adding material in a certain order progressively – the converse of milling formative fabrication formation into specified shape through reshaping and deformation with external forces such as mechanical forces, restricting forms, heat or steam etc assembly using 3D models to determine the movement and location of required component 80
READING APPLIED TO DESIGN
HOW DOES THE FABRICATION PROCESS AND STRATEGY EFFECT YOUR SECOND SKIN PROJECT?
we use laser cut to fabricate our models unroll the three-dimensional model into 2D surface for fabrication break the complex form into small pieces when assembling the model, we use digital model to help locate the position of each piece
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PROTOTYPE #2
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-in order to test different skin effect, each prototype module is enormously enlarged in scale -three different types of skin/infill are planned to be tested -hollow
-hollow line pattern
-radial thread pattern
-color test -- BLACK vs WHITE
-same module but fabricate in different colours
-different effect
BLACK is considered as the more successful and effective colour than white white seems to be a bit plain on human skin black provides stronger contrast with skin and hence is believed as a more effective colour the contrast between black model and its shadow tends to create a sense of mysterious effective black works better with shadow--lighting effect thread patterning creates better complexity and seems to be more effective than hollow line patterning
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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 production is able to narrow the gap between design representation and the final outcome, building, affording a hypothetically seamless connection between design and making. But as with any design process, digital practice comes with its own restraints and possibilities. Digital fabrication streamlines production, blending upstream and downstream processes. 3D digital modelling
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and digital fabrication are able to energise design thinking and expand the boundaries of architectural form and construction. Digital fabrication expands roles of architect to include oversight of building and construction management process.
READING APPLIED TO DESIGN
Referencing from the lectures and readings, what is the implication of digital fabrication on your design ? We utilise digital fabrication to manu-
Besides, we also used folding meth-
facture our design. Laser cutting is
od in our design. When folds are
selected as our fabrication method.
introduced into planar material, this
Laser cutter is able to process many
material gain stiffness and rigidity. We
different sheet materials in a range
utilise the stiffness of the folding to be
of thicknesses and sizes. Cutting,
self-supporting structural strength of
etching and rastering are the typi-
the voronoi modules.
cal outcomes of laser cutting. Laser cutter has several restraints such as maximum and minimum cut area and processing cost. LASER CUT SOURCE: https://dldztak330v9c.cloudfront.net/cdn/farfuture/5Sio2LKZ5YEXDsDIBTc5cPjEmDAYVkJi6 An_b7LgdLc/mtime:1453442329/sites/default/files/styles/landing_page_item_image/public/Website%20 Thumbnails%20-%20Laser%20Cutter.jpg?itok=jps0eb73
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DOUBLE TABS POLYPROPYLENE
SINGLE TAB POLYPROPYLENE
PERSPEX
EYELET 86
PROTOTYPE -- JOINTS BLACK POLYPROPYLENE + SUPER GLUE
:)
BLACK POLYPROPYLENE + SUPER GLUE
:)
CLEAR PERSPEX + SUPER GLUE
:(
BLACK POLYPROPYLENE + 4MM EYELET
:( 87
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PROTOTYPE #4 -- MATERIALITY -- FABRIC INFILL the selection criteria of fabric materiality involves following consideration: -OPAQUENESS -THICKNESS -TRANSPARENCE -FLEXIBILITY -ELASTICITY -RESILIENCE
TEST EFFECT OF FABRIC -fabric can produce a sense of texture that pattern threads cannot compete -fabric can coporate with light effect well -fabric does not match with our poly bone frame -fabric decreases the sense of mysteriousness we tend to create -fabric will not be used in final project
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PROTOTYPE #5 -- DENSITY
-the four pieces are the same in scale while fabricated with different density of the holes -the density of holes indicates the variation of thread pattern -refering to our design intent, denser pattern will be used for depicting more intimate and sensitive personal space
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PROTOTYPE #6.1 MODULE TEST
1
-SOLID -TRANSLUCENT -LIGHTING EFFECT
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2
-SOLID -TRANSLUCENT -LIGHTING EFFECT -ETCHING PATTERNING
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-SOLID -BLACK -STRONG CONTRAST SENSE OF SOLIDITY AND STIFFNESS
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FRAME -BLACK -HOLLOW -SHARP EDGE AND CORNER -CLEAR DEMENSTRATION OF STRUCTURE
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-FRAME -BLACK -HOLLOW -FILLET CORNERS -INTERESTING SHADOW
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-FRAME -BLACK -HOLLOW -FILLET CORNERS -HOLES ON THE EDGE AS PATTERNING
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-FRAME -BLACK -HOLLOW -FILLET CORNERS -THREAD PATTERNING -GREAT SENSE OF COMPLEXITY
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-CLEAR PERSPEX -FRAME -TRANSPARENCY -GREAT LIGHTING/SHADOW EFFECT
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PROTOTYPE #6.2 MODULE EFFECT
hollow black module with radial thread patterning effective sense of complexity can be used for the most intimate and sensitive area of personal space to enhance the importance and produce more protection in both visual and sensorial aspect
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PROTOTYPE #6.3 -- COMPOSITION #1
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PROTOTYPE #6.2 MODULE EFFECT
last test for translucent polyproplene not as effective as black polyproplene lack of contrast translucent modules will not be used in the final fabrication
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PROTOTYPE #6 -- COMPOSITION #2-- LIGHT EFFECT
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PROTOTYPE #7 LIGHTING EFFECT
COPPER WIRE LIGHTS MYSTERIOUS EFFECT CONTRAST WITH BLACK MODEL DEPICT PERSONAL SPACE IN THE DARK
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PROTOTYPE #8 OPTIMISATION
A SERIES OF CONNECTED MODULES HAVE BEEN FABRICATED TEST STRUCTURAL STABILITY AND STIFFNESS TEST EFFECT ON HUMAN BODY
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2ND SKIN FINAL DESIGN
TOP
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FRONT
LEFT
BACK
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SOLID X 3
SEMI-THREADPATTERNING X 11 SEMI-SOLID X 5
FULL-THREADPATTERNING X 2
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TOP
HOLLOW X 4
FRONT
LEFT
BACK
ISO-1
ISO-2
-FULL-THREAD-PATTERNING MODULE -largest in scale -intimate focus part -thread patterning producing a sense of complexity -visually depicting the most sensitive personal space around mouth and nose to reduce odor smell -denser patterning referring to more protection and hence stressing the more intimate personal space -SEMI-THREAD-PATTERNING MODULE -transition modules between full-thread patterning modules and hollow modules -thread patterning applying to some surfaces -positioning around the main modules--full-thread-patterning module -covering neck, shoulder, chest -HOLLOW MODULE -light-weight frame module -sitting on the shoulders -connecting front protection and back protection
-SEMI-SOLID MODULE -transition module between hollow modules and solid modules -open surfaces combining with closed surfaces -smooth transition
-SOLID MODULE -placing at the back -strong protection -solid and stiff protection of personal space for the back
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MODULE TRANSITION
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FULL-THREADPATTERNING X 2
SEMI-THREADPATTERNING X 11
HOLLOW X 4
SEMI-SOLID X 5
SOLID X 3
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FABRICATION SEQUENCE
RHINO TEMPLLATE
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FABLAB LASER CUTTING
ISOLATED CELL
MODELLIING
ISOLATED CELL COMBINING
FINAL MODEL
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ISOLATED CELL MODELLIIN
RHINO TEMPLLATE
FABLAB LASER CUTTING
DIVIDE THE CELLS IN GROUPS WITH DIFFERENT COLOURS
COLLECT THE LASER CUT WORK FROM FABLAB
EREASE THE LASERCUTING CO
UNROLL THE SINGLE CELLS IN RHINO
LABELING THE ISOLATED PICECS FOR NEX STEP
FOLD THE ETCHING EDGE
LAYOUT THE LASER CUTTING TEMPLATE
FOLLOW THE DIGITAL MODEL TO LABEL THEM
THREADING THE STRING FOR T
SEND TO FABLAB
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STICK THE TABS TO BUILD ONE
NG
ONTAMINATION
THE SELECTED SURFACE
ISOLATED CELL COMBINING
FINAL MODEL
LABELLING THE COMPLETED CELLS IN GROUPS
FINALLY DONE
COMBING EACH GROUPED SELLS
PHOTOGRAPHING IN DIFFERENT CONTEXT
COMBING GROUPS
ISOLATED CELLS
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2ND SKIN-SHADOW EFFECT
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Refer to my third sketch design from module 1, the effect of the shadow can be considered as a reflection of the personal space. The shadow come from the model and it is well defined the concept of personal space.
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M3
During the m3, we did more prototypes for testing the materiality, joints and aesthetic effects. with regards to prototyping, I think the prototyping give us a design direction to modify our final design. The digital fabrication is ideally faster than the manual craft. Normally, laser cutting work in fablab takes 1-2 working days, in order to get our cutting job on time, we did the final model structural first for fabrication. During the digital fabrication process, we meet some issues we haven’t met when we did the prototyping. It seems that the prototype tests cannot avoid some latent issues in practice. In this stage, we met two main issues. The first issue is how to effectively unroll the
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REFLECTION
surface or mesh of our model. We attempted in module 2 with different methods. Using the command “unroll” in Rhino was our first preference. However, our design is slightly changed which is consisted by 24 isolated cells. We tried to use grasshopper to gain the more effective unrolling result, because this plug-in works well with the big data and complexity. Unfortunately, the overlap problem still happened in the attempt. Considering the time limitation, we did the unroll in rhino and arrange the cells’ pieces fit into 12 polypropylene sheets. As we started making the model. We got the second problem. Some unroll cells is mirrored. I checked the original rhino file of each cell. The unroll process just simply follow the “unroll “commend, and I did all in-
dividuals in the same way. The moment can be considered as a best demonstration of LOST IN PARAMETRIC SPACE. We totally lost. We checked all the pieces and found half of them are versa. We have to manually redo the etching for the half worry pieces. Fortunately, we finished it on time by my friends’ help. This experience makes me reflecting on the future design and thinking about should we simply rely on the digital method? Sometimes the smart system seems like that it is not always intelligent.
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Digital design and fabrication have widened the opportunities for me to be a designer. After the design process and the fabrication study in this semester, I was deeply aware that this subject not only exposed to me the creative search and representation of ideas, but also exposed to me how to realize the ideas into tangible forms. By finishing the project, I learned new techniques for the digital fabrication and skills of the imagination and ambition which are important to and should be developed by a designer during the learning process. In the whole semester, I used the digital program rhino to translate a physical object which was compositionally arose from my physical experiments into a digital design, and then used these digital files to fabricate my final product. This process was exactly as that discussed
in “architecture in the age - design + manufacturing” (kolacer, 2003). As the reading indicates, Gehry used technology as a way to “translate” physical geometry from his design into a digital file which could be used for fabrication. Technology and digital methods of designing and fabricating may provide possibilities while producing precise and efficient results, however, craft still plays an important role in the fabrication, in another word craft is still a vital component (Bernstein, & Dreamer. 2008). I realized it in the process of Module 2 and Module 3 fabrication. As Paul discussed in the Lecture, the current Third Industrial Revolution permits masscustomization and mass-production, I can digitally develop the isolated cells in M2 and M3. However, when I tried to test different forms, I needed to fold the 2D laser cut sheets into a 3D mod-
el which involved a very traditional, hands-on technique of age-old ongami. The combination of the manual and digital modeling developments pushes the design process in a good way. Stan Allen (2003) said in his article “Artificial Ecologies”... the practice of Architecture has always been in the paradoxical position of being invested m the production of real concrete matter yet working with tools of abstract representation. Prototyping junctions, effects etc also require craft making and testing. Therefore, to be designers we should continue to explore the possibilities of technology, however, we should not forget traditional processes or making and craft. I found in our project fabrication, when the digital technology and the craft combine well, some interesting and beautiful work generated.
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If I were to recreate this project, I could have testing the joining method for the aesthetic purpose, and making our model completely invisibly without the contaminate of the super glue. Even if we used the best super glue from serval tests, we still get some burning contaminate. Moreover, as lecture highlighted that completing full-scale model helps us experience and notice our design in real scale and real life. Also, it can indicate the defects and shows limitation and potential development. The importance of prototyping test is something we can applied in our future design life, not on the school project, but also the potential career. As it shown in the previous modules, we met a lot of issues we have to deal with. That’s why we produced bunch of design outcomes. In term of the group working, we divided job individually and catch up each week for design
development. It seems like a good experience for our future career. We may meet the similar issue when we doing the team work. We got some different ideas, sometime, we have to give up our own design concept and make sure the group work can be continued working. In reflection, this was great experience for us to understand the importance of abandon when we are stuck in a design work. So a good designer, we think, should be able to work with other and has a courage to quickly and decisively abandon the design which isn’t working and move forward in new direction to resolve the problem. Overall, the learning process of digital design and fabrication, I practiced the shifting of the manual crafting and the digital fabricating, I felt that the parametric design forms were unprecedented in the design future and extended the possibilities in the architecture field. The third industrial revolution (Rifkin & Macmillan,2011) started changing the
global built environments. It is developing into much more stimulating and unparalleled forms from the traditional architectural design methods. Thinking like an architect, the more techniques we learnt, the more opportunities we can achieve. I think I was not a parametric design amateur, however, I definitely enjoyed modelling progress. IIn the future, I may still follow the old school design thinking, but linking the digital design ideas may give me more inspirations.
THANK YOU FOR ALL THE HELP FROM MY TUTOR AMANDA, MY GROUP MENMBER XUEWEI AND CHEEJONG AND MY FRIENDS. ESPECIALLY, THANKS FOR JEN TO BECOME OUR PHOTOGRAPHY MODEL.
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APPENDIX
NON-TEACHING WEEK-- GROUP MEETING -- DESIGN DEVELOPMENT AND PROTOTYPE#2 FABRICATION
PROTOTYPES FAMILY
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REFERENCES
Allen, S. (2003). Artificial Ecology. Reading MVRDV, NAi Publishers, Rotterdam. Bernstein, P., & Dreamer, P. (Eds.). (2012). Building (in) the future: recasting labor in architecture. Chronicle Books. Heath, A., Heath, D., & Jensen, A. (2000). 300 years of industrial design : function, form, technique, 17002000 / Adrian Heath, Ditte Heath, Aage Lund Jensen.New York : Watson-Guptill, 2000. Kolarevic, B. (2003). Information master builders. Architecture in the digital age: Design and manufacturing, 88-97. Rifkin, J. (2011). The third industrial revolution: how lateral power is transforming energy, the economy, and the world. Macmillan. Scheurer, F. and Stehling, H. (2011): Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 (4), July, pp. 70-79. Sommer, R. (1969). Personal space : the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J. : Prentice-Hall, c1969.
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