DIGITAL DESIGN + FABRICATION SM1, 2017 JOURNAL -PANEL & FOLD Zhuo Zeng (692097)
NIC DINGWEN BAO / 11
1
2
3
4
CONTENTS 0.0 INTRODUCTION
7
1.0 IDEATION 1.1 MEASURED DRAWINGS 1.2 ANALYSIS 1.3 DIGITAL MODEL 1.4 COMPUTATION PROCESS 1.5 SKETCH MODEL 1.6 SKETCH DESIGN 1.7 WORKSHOP 1.8 RFLECTION
9 10 12 14 16 17 19 22 24
2.0 DESIGN 2.1 SKETCH DEISGN DEVELOPMENT 2.2 REFINE SKETCH MODEL 2.3 PERSON SPACE 2.4 2ND SKIN PROPOSED DESIGN V1/V2 2.5 PRECEDENT REDEARCH 2.6 PRECEDENT APPLIED TO DESIGN 2.7 TRANSLATION 2.8 DEISGN DEVELOPMENT V1/V2 2.9 PROTOTYPE TESTING 2.10 PROTOTYPE PROCEDURE 2.11 PROTOTYPE 2.12 TESTING EFFECTS 2.13 REFLECTION
25 26 27 28 29 34 37 38 40 46 47 48 50 52
3.0 FABRICATION 3.1 INTRODUCTION 3.2 DESIGN DEVELOPMENT + FABRICATION OF POTOTYPE 3.3 READING RESPONSE WEEK6 3.4 READING APPLIED TO DESIGN 3.5 READING RESONSE WEEK7 3.6 READINF APPLIED TO DESIGN 3.7 PROTOTYPE DEVELOPMENT 3.8 PROTOTYPE OPTIMISATION 3.9 SECOND SKIN FINAL DESIGN 3.10 FABRICATION SEQUENCE 3.11 ASSEMBLY DRAWING 3.12 REFLECTION
53 54 56 59 60 61 62 63 64 65 78 70 83
4.0 REFLECTION
85
5.0 APPENDIX 5.1 CREDIT 5.2 BIBLIOGRAPHY
87 88 89
5
6
0.0 Introduction design brief: The second skin is wearable and accommodates the body. The skin must be a 3D volume that create a boundary of personal space to explore, measure and negotiate. Personal space refer to an area with invisible boundaries surrounding a person’s body into which invaders may not come. Protection/ defend/ possesion
7
8
1.0 IDEATION
9
1.1 Measured Drawings
The pineapple is used tape to measure it. It is easier than hard ruler, due to pineapple is a sphere shape object. 55 mm
To draw a pineapple, I’m using tracing paper after took photo of pineapple and scale it down in computer, then print it out. The scale of pineapple is 1:1. To present the details of drawing, From the reading ‘300 years industrial of design’(2000) demonstrated how to draw the object in a appropriate way. Take out each peice of object, and measure it and draw it. Each object has different importency, some are showing in sections, and some are showing in elevations. Like another reading’ how to layout a croissant’ (1988/1991), they expressed details of taking out each peice of croissant, and draw in sections.
11cm 70 mm
For pineapple, I think very important part is the organic patterns, and the shape of leaves.
55 mm Elevation
section scale: 1:2
10
50mm
55mm plan
scale: 1:2
Pinapple leaves I found the shape of leaves on pineapple can refer to the geometric shape: triangular shape. This shape might inspirited me for further design. The repeating leaves created a beautiful curve structure. According to the person space theme, pineapple leaves could create a sharpness and boundary for the invader.
leaves detail
20mm
scale: 1:1
11
1.2 Analysis
Patterns on pineapple are irregular, some are diamonds, some are pentagons, and some are hexagons. Those are very geometric shape naturally grow on pineapple. The organic pattern achieved a logical way of growing. The central point raised up to create a volume of 3D space Those are very interested to me as my inspiration. Following the organic and geometrical patterns form a beautiful texture of pineapple. In terms of personal space, pattern of diamond, pentagon and hexagon all have a potential to created a 3D volume space between human body and invader.
Isomatric drawing from Rhino digital model
12
scale: 1: 1
scale: 1: 1
20mm
20mm
Repeating patterns of diamond, hexagon and pentagon created a nice shape of paneling and folding system. It seems like they follow a central line and point, revolving up to form a pineapple. Its like organic form can be seen in parametric design.
13
1.3 Digital Model Rendered views
top view
Elevation
14
zoom in pattern detail
pattern detail Perspective The process of making digital pineapple I found so much fun. It is good experience for us getting know what technology we used through digital model making. We can learn how to transfer organic form into computation design. From realistic into computer world is more formal and geometrical. Taking inspiration from natural pineapple patterns to develop a personal space. During the process of digital modelling, I found it is hard to result a gap between patterns on pineapple. Flow along surface commend sometimes deforms and changes the shape to a weird form. To avoid this happen, we need perfectly measure the 3D of pineapple when flatten the shape into 2D.
leaves detail
15
1.4 Digital Model: Process
1. Used solid tool to draw six sides
2. Used revovled command to
3. line and surface command to draw sec-
of pyramid. (pyramid command)
create a pineapple core.
ond layer on pineapple. repeating one pyramid regularly.
16
4. Use Flow along surface com-
4. Use curve line as a base and 2 lines to cre-
Difficulties: It is hard to fixe a gap between
mand to create pattern on core.
ate a surface for leaf. Array them piece by
patterns. But I figure it out when I use flow
piece.
along surface command.
1.5 Sketch Model
As ‘Personal Space’ (1969) reading demonstrates that ‘personal space refers to an area with invisible boundaries surrounding a person’s body into which intruders may not come.’ For me, personal space is more about protection, make a boundary between human body and the outside to isolate from invaders. I developed the hexagon shape of pineapple, based on hexagon geometry, it changed to irregular patterns. combine them together. Then fold each hexagon into a curve shape, and form a spatial layout.
17
Difficulties of making model: material I only used paper to test. But I found it is too soft and it it hard to stand up. And I think I made something wrong with the quantity of hexagon pattern. That is another reason effects supports. It is different from the workshop we did in class. there was a black hexagon in the centre can create tension to support the object without others.
18
1.6 Sketch Design #1 Hexagon fold: untouchable
Like the previous sketch model I did. Develop that into shoulders. Fold hexagons into curve shaple and surround shoulders.
How does this respond to your personal space? Shoulder is a weak part when someone touch it, it will influence your brain to get nervous with your unconsciousness. preventing invaders to touch your shoulder when you meet a stranger. Protecting yourself like a armour to avoid unwanted touch from invaders.
[Maximum 25 words]
19
Sketch Design #2 Don’t Breath: shrink six sides pyramid
How does this respond to your personal space? Avoid intruders eavesdrop when you are speaking or having communication with your friends. Thess idea hide your noise, mouth and neck. Neck is also a very weak part. If intruders get close to you, it will shrink more stab. This is more about protect and hide your privacy.
[Maximum 25 words] 20
Sketch Design #3 panelling triangles: Defence
How does this respond to your personal space? Inspirstion from pineapple’s leaves. Personal space is normally intruded, arm is very common use part in human body. It can get rid of careless touch when you are doing something. Those repeating triangle patterns were folded around the human arm. The patterns can create sharpness to isolate from outside.
[Maximum 25 words] 21
1.7 WORKSHOP
In class exercise, I got more undestanding of personal space. It’s my first time to become a model in our group. We are in panel and fold group, they give us many hexagon shape geometry and ask us to use this geometry and try to fold and cut to create a personal space. As a model, it’s really getting into the idea of personal space. They asked me where do you want to hide? where do you feel uncomfortable if someone is getting close to you? For me, I want to hide half of my face, as I have another half of my face to show out the world of strangers. I have to make a boundry to divide strangers and myself. And I want to hide my left shoulder if someone touch me I feel uncomfortable. Left hand still can do regular works.
22
During our process, we found difficulties with support. the material is very soft to create load, so it cannot stand up by itself. But we figure it out by using wrapped hair. And used dark hexagon to achieve contrast.
workshop
23
1.8 REFLECTION
Why I chose pineapple as my ideation, because I found the pineapple as a nature matter can create a geometric texture and form. Under the weather condition, climate and origin, those remarkably influence the shape of pineapple’s imperfection. In this module, the object ‘pineapple’ as the statin point of personal space. It is interesting to start a design from an object which seems to totally irrelevant to the final product. We also be introduced to use a software ‘Rhino’ to create a digital model of pineapple. Different from the measure drawing, it is the process of making 2D and 3D to a perceptive solid. In the reading (Cheng, 2008), and the video tutorial. I have learnt some basic command in rhino and I was able to create the digital model. Furthermore, from the reading, it demonstrated some knowledge of rendering, rendering the digital model became more aesthetic and realistic. During the digital model making and sketch design process, I get better understanding of panel and fold system. My sketch design met some problems and failure of losing support, but my sketch designs are closely fulfilling with the personal space and some of the idea have been taken into the later design. Sommer (1969) expressed the personal space could be various between different person, environments and cultures. Even though pineapple is a natural and organic form, it has many potentials to create a mathematical formula form. The way of thinking mechanism is important when we move to later design as pineapple naturally joint elements together compared with man-made objects.
24
2.0 DESIGN
Deon Cham Dao Xuan(783866) Shiyu Li (692182) Zhuo Zeng (692097)
DIGITAL DESIGN + FABRICATION SM1, 2017 M2 JOURNAL - PANEL &FOLD
Deon Cham Dao Xuan(783866)& Shiyu Li (692182) & Zhuo Zeng (692097)
NIC DINGWEN BAO + 11
25
2.1 Sketch Design Development
Deon’s sketch design #2 emphasises on the protection of the shoulder and the heart, which is also an important aspect of our design. The shape, inspired from a paper fan, provides complex movements that fit the shape of the body. Having a strong connection between the heart and shoulder, this design reacts whenever they are invaded by spiking out powerful triangular folds to calm the heart down. His theme of action and reaction progresses through for further development. Fiona’s sketch design #1 presents the idea of facing away, which formed the basis of our conceptual pathway. This design is constructed with multiple hexagonal patterns that forms an envelope covering the head of the wearer. The hexagonal patterns resemble the building up of cells as part of the body’s self-protecting mechanism. The aim is to face away unwanted strangers and allows exposure to the exterior environment depending on different situations.
By combining these two key conceptual ideas from M1, the second skin aims to: - incorporate the basic principle of panel and folding. - protect user’s personal space by sheltering the core part of the body. - give user’s the possession to summon self protection boundary at will. - assist user’s interactions by exhibiting a more defined response to different scenarios.
26
2.2 Refined Sketch Model
Vermy’s sketch model explored the hexagonal patterns to develop a planar curve that fits the human body. However, the model failed to be executed due to the angular errors. Therefore, we thought of an idea, that is by creating a rotational mechanism to assist the foldings to avoid the hexagonal pattern from overlapping. During the developing process, we separated the collective pattern into planar strip to allow angular flexibility. Finally, the structure shows great volume and dynamic composition.
27
2.3 Personal Space Personal space can be defined as one’s comfort zone, where encroachment can feel uncomfortable or threatening. Based on Sommer’s Personal Space (1969), it is evident that the personal space of an individual is not an absolute figure but varies with relationship between the individuals. Also, a spatial invasion is whether the parties involved perceive one another as persons. A nonperson cannot invade someone’s personal space. By deeply analysing and understanding these two interpretation of personal space, we proceeded to measure personal space through different experimentation. This enabled us to conclude that personal space is more directly related to the face, neck and the heart. The second skin will focus on a personal space that conceals the most vulnerable parts of the human body with reconfigured polygon cells and encourages natural movement to react accordingly to the surrounding environment, mainly during interaction. Unlike other aggressive self-defence mechanism, the second skin is designed to be unassertive and defensive but also friendly at the same time.
Analysis of the Body An analysis of the body demonstrated how the second skin would respond to the main part of the body. Here are a few experimentation carried out to gain a deeper understanding of personal space:
The face Two photos of a full body; one face covered and uncovered. When a person is seen with only the body (faceless), there is no feeling of spiritual existence. However, when the person’s face is shown only then would you provoke feelings on them. We noticed that all five senses of the human body can be found on the face. The sense of sight, taste, smell, hearing, and touch. These senses would assist humans to respond almost instantly when triggered.
28
Sight Photos of two people making eye contact and facing away. Sight ignites a lot of emotional feelings and thoughts depending on what is visualised. However, when one faces away, one loses connection. Eye contact produces a sudden realisation that this is a human being and recognises their existence. Thus, closing of eyes or looking down are responses to minimise unwanted social intercourse. This inspired us to question how we should design a second skin that simplifies and enhances the human reaction to give a clearer response with reduced effort.
The body By comparing the two photos as shown, the body has no form of existence without a face but only emptiness. From Sommer’s Personal Space (1969), we learnt that perceiving one another as a person is a condition that allows spatial invasion to happen because a nonperson cannot invade someone’s personal space. From this two observations, we have concluded that the face represents the most important and vulnerable part of the body. Hence, it requires the most protection from the second skin. Secondly, the body can be perceived as a nonperson due to its lack of presence without the face.
In between In between happens when emotions and personal space fluctuates. Based on the photo, a person covers her face while peeking through a hole, showing interest but with no self confidence to initiate an interaction. We intend to provide this moment for the user as this is a possible scenario during interaction.
29
2.4 2nd Skin proposed design V.1
This idea is developed from Fiona’s sketch design 1 that is more refined and improved in terms of functionality. The planar hexagon went through repetition and transl tional mechanism that we have proposed in our refined sketch model, it allows the second skin to better assist human’s reaction.
30
lation, which then formed into a spherical envelope. The wearer would have control of the environment and hence feel more secure. By integrating the rota-
31
2nd Skin proposed design V.2
Due to uncertainly and failure to make decisions at this stage, we went further to develop Deon’s sketch design as a comparison. The concept is constructed with fol robust panel and fold system. The foldings react according to human’s behaviour towards the surrounding environment.
32
lded triangular geometries that move along its respective pivot points. The pivots locate themselves in opposing direction in order to create a more dynamic and
33
2.5 Precedent Research
Chrysalis by MATSYS Concept: Cell, natural, unassertive This project explores cellular morphologies, the self-organisation of barnacle-like cells across an underlying substrate surface. The cells shift and slide across the surface as they attempt to find a more balanced packed state. Each cell is composed of two parts: a cone-shaped outer space made from cherry veneer and a non-planar inner plate made from poplar veneer that stresses the outer cone into shape. The natural behaviour of the cells display organic features that are less aggressive and would be really interesting to have on second skin.
34
Paper Cave by Edhv, Architects of identity Concept: experiment, spatial experiment, enclosed Edhv created an incredible installation, the Paper Cave project, with hundreds of paper cones with different height variations. The use of paper as the raw material for design has challenged and motivated artists and designers all over the world. The difference in height from cone to cone illustrates a sense of movement and the distortion of spatial experience. This experimental idea that resembles the cave exhibits strong emotions when walking through, which draws our attention to apply it into our second skin.
35
Cloud Canopy by Maddison Architects Concept: Transparency, weather shelter The cloud canopy is made from repetitive hexagonal paneling that has great inherent structural strength and allows flexibility towards design. In terms of functions, these honeycomb lattice has angled parallel extrusions in a northerly direction to counter the sun’s lower angle in winter. The idea of controlled light exposure shows a creative response on personal space. Factors such as the transparency, repetition, irregular, and flexibility could also be taken forward and would address the concept of the second skin well.
36
2.6 Precedent applied to design We started applying the precedence theories into our design models. These are the three concepts that are brought forward to the final design development:
Action and reaction We combined the ideas of translation and extrusion introduced in Maddison Architects’ Cloud Canopy and Edhv’s Paper Cave as a technique to emphasise on action and reaction of the second skin. This concept is achieved by extruding the hexagonal patterns inwards and outwards to demonstrate a more dynamic shape and better representation of the second skin.
Introspection Inspired by the Paper Cave, we plan to integrate different sizes and heights of the hexagonal pyramid into a sequence of movements. With this, the second skin emphasises a sense of introspection, whereby the interior space is confined by the thorny edges that represents torture towards the wearer.
Organic form The Chrysalis by MATSYS asserts a strong self-organising structure that we think might take the form of our second skin. The cells have unaggressive surface that helps the wearer to be more approachable and sociable.
37
2.7 Translation
38
39
2.8 Design development - Version #1
40
We developed a second skin that asserts self introspection and domination during interaction. It consists of 2 different surfaces, black and white. One of the personal space we looked into is the face. During sketch design, we managed to protect the head and face as to show its vulnerability and importance. We then analysed deeper into the emotions and social behaviour of people and discovered that personal space can be invaded by both parties at the same time.
Black During this development, the skin provides a boundary that blocks off the face of the users whenever their personal space is invaded. However, by acting upon them, users would experience a form of punishment due to the invasion of other’s personal space indirectly. Action and reaction from the precedent study is applied in this context. The black is give a more provocative and strong sense of rejection. It also represents pain and torture. White The skin is surfaced with extrusion of hexagonal pyramid that promotes dominance for the user. When both parties are invading one another’s personal space, there is no holding back. Hence, both needs to be equally capable. The white symbolises brightness and visibility. Ready and free to interact. The wearer feels at ease to show their true self to the person that they are interacting with.
41
Design development - Version #2
42
After exerting great aggressiveness, the following design takes a step back to attain a more approachable and unassertive skin during interaction. Also, with considerations of in between behaviour of people when analysing personal space, this design aims to counter this situation. Panel and fold The implementation of rotational movement from our refine sketch model into the design development took advantage of the panel and fold system. Similar to a paper fan, panel rotates to many degrees of fold showing open, half-open and closed. Black By blocking off the face of the user, the intruders face a clueless atmosphere and sometimes uncertain of the users emotion because the face defines a person’s existence. Due to its unaggressive pattern, the intruder would not feel their personal space being invaded or if they have invaded someone’s space. Grey Translucent material is used for this surface to allow certain amount of light to pass through. When user wants to have interaction but afraid to make a move, the second skin enables them to peek and slowly reads the other person’s behaviour. The random openings reveal a little about the wearer. White The sharp edges trimmed off to display a friendlier approach to close friends but also inform a certain awareness to stop them from crossing the line. Friendly but teaches others to respect each others personal space.
43
Design development - Version #2 Detail & Process & Difficulties
44
During our process of using Rhino, we found some difficulties. Firstly, we tried using Flow along surface to flow pyramid hexagon on curve surface around the human body, but form was deformed after using this command. We tried implementing pentagons into our design to make connections with hexagons after researching on the sequence pattern of soccer ball. Nonetheless, they still overlapped. Then we started using Paneling Tool plugin Rhino, used PtPanel 3D custom command, but it could not close the gap of each pyramid hexagon. We tried so many different commands to complete our design, finally we found orient on surface command that could help us flow each hexagon pattern on correct curve surface, used orient3points and rotate command to finish our final. However, this command still could not solve our problem as there were some overlaps between each pattern. Moreover, we found that it was difficult to make connection between each part of our design. Hence, we still have to work on this problem before fabrication. We are thinking of using grasshopper to achieve our final design.
45
2.9 Prototype Testing
Folding System Testing 1&2 (Paper)
Connection Testing (Polypropylene & Robber Band)
Shoulder Support Testing ( Balsa & Cardboard)
46
2.10 Prototype - Procedure
We have used three materials to build our prototype: 1.5mm white mount board, 1mm translucent polypropylene and 1.5mm black board. Mountboard and blackboard are used because they have firm and rigid properties and they also ensure clean folds. Translucent polypropylene is a very good material for light exposure experimentation and its flexibility and elasticity would help achieve stronger joints. We decided to connect all the elements with cable ties as it is cheap and durable. After laying out the digital model, the file is sent for laser cutting. All the parts are then connected together by cable ties. As we started assembling our prototype, we found a few problems that need to be fixed for the final assignment: Firstly, the blackboard might be a good material but it is too hard when making the fold. Hence, we needed to make a few more cuttings for an easier fold. Secondly, with some miscalculations, we accidentally printed extra opening for the connection, which must be resolved later on. Lastly, the connection with the cable ties were not strong enough at the start as we were still looking for the best solution. Fortunately, we found that by securing the three holes together, it will give a tighter connection during folding.
47
2.11 Prototype
48
49
50
2.12 Testing Effects
We tested the effects of the second skin through different angles of light exposure. The randomised openings gave a mysterious and secretive feelings, therefore acting as a form of awareness to intruders. The shadows represents the distance of personal space that should not be invaded.
51
2.13 REFLECTION
Robert Sommer (1969) define that personal space is one’s security zone, and the zone would be different due to culture, gender and environment. developing the inspiration from pineapple, our idea used hexagonal patterns resemble the building up of cells as part of the body’s self-protecting mechanism. And we also want to achieve the rotational mechanism into our design. Through the precedents study, we got better development of our design. Like ‘Maddison Architects’ as a technique to achieved an action and reaction of the second skin. The extruding of hexagonal patterns demonstrated more dynamic shape and better representation of the second skin. During the process of digital model making, we found its limitation by using Rhino as we cannot fixed the gap and overlaps between each patterns. We started to try ‘Grasshopper’ in later design to achieve better aesthetic form. And our materials chose were not perfectly due to its flexibility. As our design is a spherical surface formed by hexagon patterns, our prototype was problematically due to angular errors. We tried to achieved more dynamic structure in later design.
52
3.0 FABRICATION Deon Cham Dao Xuan(783866) Shiyu Li (692182) Zhuo Zeng (692097)
53
3.1 Introduction
Submissive concept The design intent of our second skin directly conveys the feelings of the wearer without verbal expression but through rotational movement and surface enclosure (open, half-open and closed). The wearer also has control over their second skin to accommodate different type of situations and scenarios in their daily activities. We summarised these scenarios into three separated categories. Black (strangers) - total darkness, rejection, self introspection Translucent (impermanent - Intimate to Social) - wavering, uncontrollable emotions White (personal distance) - bright and visible, friendly interaction, self-confidence From the feedback of M2, there are some specific problems that need to be resolved.
54
Feedback from M2 Hexagonal connections Our initial prototype was constructed with only hexagon patterns forming a spherical surface, which is relatively impossible to build due to angular errors. Dynamic structure Based on our previous design, the tutor and guest critic suggested that the overall design was too uniform and dull (spherical form and and identical hexagonal patterns). Flexibility of the materials Three different materials were used in our prototype, which are polypropylene, black board and mount board. We made use of three different materials in order to make the best selection in terms of flexibility. Black board and mount board were strong and rigid but very difficult to fold, thus indicating poor flexibility. Development of shoulder support We managed to test the mechanism of how our shoulder support should work but have not fully developed it yet. We used balsa and white paper but it was not strong enough to hold a certain amount of weight.
55
3.2 Design development + fabrication of Prototype V.2
Flexibility of the materials We eventually settled with polypropylene as our material for second skin out of the three tested materials as it is more flexible and is available in many differe
Hexagonal connections By understanding the mathematical concept of polygons, we noticed that hexagon patterns must have some connections with pentagons to form an org but also formulated a more dynamic structure to add to our second skin.
56
ent colours. This benefited us because our design incorporated three different colours, which are black, white and translucent.
ganised spherical surface without any overlapping. Hence, we tested our second skin with grasshopper plugins. Not only did we resolved the patterning,
57
Design development + fabrication of Prototype V.2
Shoulder support Emphasising on the spiral growth of the pineapple, our shoulder support intends to make our second skin rotatable. Hence, we further developed our support’s prototype and made changes for the material. In order to implement the rotational function, we considered having a circular frame in between two bigger frame that resembled a parallel flange channel. This way, the frame will be attached to the shoulder support while being able to rotate.
58
3.4 Reading Response Wk 6
Two Dimensional Fabrication The most widely used fabrication technique that involve various cutting technologies, namely laser-beam, water-jet and plasma-arc. Each technology uses different physical mechanism principle but mainly based on high pressure and intensity cutting of materials. Subtractive Fabrication This technique involves cutting or abrading excessive materials away, leaving desired forms from existing materials using electro-, chemically- or mechanicallyreductive processes. Additive Fabrication This fabrication is the process of conversing of milling to form free solid forms by adding materials in a layer-by-layer fashion, such as 3D printing and Selective Laser Sintering. Formative Fabrication The reshaping or deformation of materials such as moulding or die-casting, into preferred shape. This technique can be achieved by applying mechanical forces, restricting forms, heat or steam. For our second skin, we mainly utilised two dimensional and subtractive fabrication due to our choice of materials. By using Rhino, we arrayed our shoulder support and second skin over sheets of perspex and polypropylene respectively.
59
3.5 Reading applied to design
Lasercutting our materials helped us more efficiently during our process of fabrication. For example, it sped up the cutting process and helped us understand the type of materials suitable for lasercutting as they each have their own restrictions. In addition, the accuracy of this cutting technique encouraged more detailed and complex form, especially our second skin. Nonetheless, problems such as burnt marks and water frost on materials emerged hence, further considerations were made on the material selection. Initially, we planned to use mount board as part of our second skin because they have firm and rigid properties and ensure clean folds. However, we eventually settled with polypropylene as it is a more flexible material enough to be moulded and allow better rotational movement, which better accommodate our design.
60
3.6 Reading Response Wk 7
The recent rise in development of digital fabrication technologies is generating endless possibilities for the design field to make prototypes and testings that were not feasible before. For example, the use of CAD, CAM, and CNC allows designers to transform 3D digital models into physical models directly, eradicating the need for traditional architectural hand drawing. Folding has become a major aspect in digital technologies from design to fabrication. It is a technique that transforms flat surfaces into threedimensional volume. When folding system is introduced into planar materials, those materials gain upgrades to their properties as a whole such as distant spanning, stiff and rigid, and self-supporting. By deforming and inflection, foldings is able to expand three-dimensional surfaces, amplifying the potential of boundless complex design.
61
3.7 Reading applied to design
Digital fabrication has certainly been the core medium for developing our second skin. Producing physical prototypes and testing effects during the process were the most important tool to gain insights of our design and make further refinement. As we build models and prototypes, we encounter problems and find solutions while obtaining a better understanding of our project. By constructing our models on grasshopper and rhino, we were able to test and visualise our design form before sending the file for lasercutting, which have proved digital fabrication method to be more accurate and efficient. Digital fabrication was a key aspect of our design process as our second skin is made entirely through lasercutting, allowing easy assembling and dismantling of parts. From the readings, we hoped to achieve the expansion and contraction of fold to create dynamic movement by adding bigger supporting frame. Thus, digital fabrication is definitely critical throughout the development of our second skin.
62
3.8 Prototype development
Prototype development Advanced Folding After more discussion with our tutor, he suggested that our second skin should demonstrate more features of folding. Making this as our new goal, we intend to blend rotational and organic movement into our design. With this, we had to reconsider our design support and the structure of our second skin. Problems We overlooked a few problems when building our shoulder support, which were: - cracking caused by compression - connections for the second skin onto shoulder support Further Development of Second Skin Due to the added feature, we had to make our second skin larger to ensure that the movement works. A sur face was created on the silhouette as shown in the photo to set as guidance for the size of our second skin. Then, the digital models were unroll surfaced on Rhino to send for laser cutting.
63
3.9 Prototype optimisation
Joints To prevent cracks for happening, we developed a joint as a connector so that the other parts of the support would slot into the gap perfectly without exerting compressive onto it.
Connection between Shoulder Support and Second Skin To achieve rotational movement while still portraying organic form, it was relatively difficult for us to build. Fortunately, we managed to find our ways of representing the idea in our second skin. Firstly, we extended the height of the shoulder support and added two fixed frame to accommodate the movement. However, there will be no connections among them as they might lose the rotational function. In addition, we tied the second skin onto the rotational frame so when user rotates the second skin, the push and pull of the skin creates the organic movement.
64
3.10 2nd Skin final design
65
2nd Skin final design
66
67
3.11 Fabrication Sequence
1. Excess perspex removed and ready to assemble.
2. Assembly starts from joining the left and right support.
6. Panels folded nicely following the half cut lines.
7. Panels connected together with stapler.
68
3. The joints are glued together.
8. Panels arranged according to t
their own numbering.
4. Polypropylene strips attached to the fixed frame with cable ties.
5. Shoulder support complete.
9. Finishing each section.
10. Three sections put together with stapler and tied onto shoulder support with cable ties.
69
3.12 Assembly Drawing 1
1 1
Shoulder-support diagram
70
2 1
Translucent (impermanent - Intimate to Social) wavering, uncontrollable emotions
2
Black (strangers) rejection, self introspection
3
White (personal distance) friendly interaction, self-confidence
3
Second Skin diagram
71
2nd Skin
72
73
74
75
76
77
78
79
80
81
82
3.13 REFLECTION
During the process of fabrication module, we moved from the design stage to the actual fabrication and we made big development from M2. We found the most challenging points are digital model making by using grasshopper, and rotation of mechanism. As there is a limitation of using Rhino, we turned to learn grasshopper which is more parametric and advanced design. It is very difficult to deal with the connection between each part of our design (black part, white part and translucent part) due to our design shape is very dynamic. Our design covered three different technologies of grasshopper as black part extruding centre point to inside the wearer, white part extruding centre point to outside the environment and translucent part is 2D flat. We pushed our design to the boundaries as we used ‘voronoi’ component in grasshopper, each pattern in different size and different height. So we must label every single pattern when we did laser cutting. In fabricating the final outcome, the materials we changed to polypropylene due to its flexibility. But polypropylene is hard to fix the connection perfectly by using glue, trying to achieve its aesthetic in design, we used stapler to assemble each pattern. Another problem we met was rotation mechanism system we used. It was different as we thought before, when our second skin connected to shoulder support, and it rotated imperfectly. Sometimes, when wearer rotated it as the black part (extruding point inside) stuck on shoulder support. In the reading of Architecture of the Digital Age(2003), they introduced some different digital fabrication processes and strategies to us. The 2D fabrication strategies have been used the most in our design fabrication. The numbers of cutting technologies were shown including of plasma-arc, laser-beam and water -jet (Kolarevic, 2003). The laser cut strategy as week six lecture mentioned was the subtractive procedure, and we need to unroll each solid model into a 2D flat plane a the laser cut templet. The laser cut speed up our fabrication process .
83
84
4.0 FABRICATION
Digital Design and Fabrication has expanded the breadth of opportunities for me as a designer. It is a new journey for me in term of the design strategies in Rhino and Grasshopper and digital fabrication technologies. I am surprised my skills of digital program like Rhino and Grasshopper definitely grown after completing this subject. Not only I have learned new techniques, but also my imagination and creativity are much more open than before. I think this subject enlightened me about the potentials of deign, and I am very excited to see what I can achieve in the future design. This subject introduces us the different digital design methods and it would be very helpful and practical for us to keep exploring them. Following the reading ‘Architecture in the digital age’(Kolaveric, 2003) Kolaveric mentioned about to use technology as a way to ‘translate’ physical geometry from his designs into a digital file which could then be used for fabrication. That was the way I relied on digital fabrication process. The most killing part of our design is we keep going development of our design, overcoming many difficulties we met together, and it was unbelievable we made impossible into possible. For example, we solved out many problems after moving into M3 and tried to use Grasshopper which is the most challenging part to us. From repeating the same hexagon pattern into each pattern is in different size and height. During the process of fabrication, I found rotation of mechanism system was rotating not smoothly as we thought before. So we need always test out our thoughts before final outcome, providing as many prototypes as we can to achieve a better quality of design. All those experiences can take into consideration into my future digital design and it is a useful experience for us to discover the unlimited possibility of digital design and fabrication. For me, I think readings work well as an ideal guidance through the semester. As Michael Speaks said, making now becomes a part of design (Iwamoto, 1969). I still can remember the sense of achievement when we saw the final full scale second skin coming out, it is a totally different feeling when we look at a digital model and the actually fabrication model. It it the power of making. Furthermore, the reading ‘Building the Future: Recasting Labor in Architecture (Bernstein&Deamer 2008) demonstrated how deep they thought in terms of digital tectonics. In modern world, under the spread of using digital techniques, architects are positioned in a paradox role like being invited in production of real, but work with tools of abstract representation. And what they addressed on was calling back to craft, so that outcomes might not be certain, As the risk he stressed that in the process of craft should be valued, which is quite inspiring in later deign. Above all, from design to fabrication, it is a progress of learning from the failures. Throughout the whole semester, I learned always challenging our possibility into the design process. This subject transferred from complex and mathematical digital model into physical structures. I have opened my eyes to see much potentials of design on me.
85
86
5.0 APPENDIX
87
5.1 Credit
88
5.2 bibliography
Heath, A., Heath, D., & Jensen, A. (2000). 300 years of industrial design : function, form, technique, 1700‐ 2000 / Adrian Heath, Ditte Heath, Aage Lund Jensen. New York : Watson‐Guptill. Cheng, R. 2008. Inside Rhinoceros 4 / Ron K.C. Cheng. Clifton Park, NY : Thomson/Delmar Learning, c2008. Sommer, R. 1969. Personal space : the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J. : Prentice‐Hall, c1969.A. Scheurer, F. and Stehling, H. _2011_: Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 _4_, July, pp 70‐79. Asperl et al, 2007, Surfaces that can be built from paper / In H.Pottmann, A.Asperl,M.Hofer, A.Kilian (eds) Architectural Geometry, p534‐561, Bentley Institute Press Kolarevic, B 2003, Architecture in the Digital Age ‐ Design and Manufacturing /Branko Kolarevic. Spon Press, London. Marble, S, 2008. Building the Future: Recasting Labor in Architecture/ Philip Bernstein, Peggy Deamer. Princeton Architectural Press. pp 38‐42. Rifkin, J 2011, The third Industrial Revolution. Palgrave Macmillan.pp107‐126. Matsys, 2012, Chrysalis(III), viewed 13th April, 2012, http://matsysdesign.com/2012/04/13/chrysalis-iii/ Edhv, Architects of identity, N/A, Paper Cave in a box, viewed 08th June 2017, https://www.edhv.nl/portfolio/papercave-milaan/ Maddison architects, 2013, Cloud Canopy, viewed 08th June 2017, http://www.maddisonarchitects.com.au/projects/cloud-canopy
89