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Virtual Environments - Ingrid AagenĂŚs - 618713 - Semester 2 - 2013

Module 1 - Ideation When exploring the fan in different states I found that the pin joint and the ribs is restricting it's movements. The reading 'How to lay out a croissant' gave me the idea to take the pin out and look at how it appeared. The fan is both a

'panel and fold' and a 'skin and bone' system.

When taking the pin out panel and fold system was not applicable. As a conclusion I found that the pin joint and the ribs are the key characteristics for a fan.

Module 1 - Ideation

Module 1 - Ideation I wanted to use the idea of a body and a fan combined to figure out a system for a personal space. I also looked at cone of vision as a personal space and the idea that a folded out fan creates the cone of vision.

Module 1 - Ideation

Snipps and Snippets, 2009 From what I explored as personal space and second skin I came up with 2 ideas. One is a head piece using the system of a pin joint and ribs. The other one is a tent where the skin and bone system is used. This does not have a pin joint so I decided to continue working on the headpiece.

Module 1 - Ideation

Module 2 - Design Olafur Eliasson's use of surfaces to create a feeling inspired us. Light and different textures have the ability to make a dreamy and meditative feeling. When you are in that state of mind it makes you feel comfortable and in your own space. That made us think of creating the personal space as a sensorium.

Module 2 - Design We explored with different type of surfaces. Our aim was to make each layer stand out in different ways. Either using different textures or using

differentiation as a method. In that way each layer will provide a special feeling. Together they act as a sensorium for the personal space we hope to create.

Inhabitation – sensorium sketch,Skewes Student, 2013

Surface sketches,Rahman Student, 2013

Module 2 - Design Precedent study

Architectural firm Woods Bargot, produced a Cocoon The material system is skin and bone. Our project uses a similar structure of ribs and the surface of the Cocoon has great sensory possibilities and we seek to explore those possibilities in the future.

We used 123D Catch as a model to draw an outline of a body responding upon personal space, so the head needed more space around it than the rest of the body.

Fan`s joined together ,Skewes Student, 2013

Rhino outline ,Rahman& Aagenaes Students, 2013

Rhino model

Module 2 - Design

Cocoon test model ,Skewes Student, 2013

Module 2 - Design

When we started to make the physical model we experienced a lot of mistakes. The pin joint did not work the way we wanted it to because of the bit under the bin joint. The skin was not folding in the right direction

we ended up making a static model. and

Change in design

Module 3 - Fabrication We wanted to focus on the head instead of the body. The reason comes back to personal space and how the head

is the most vulnerable. All our senses is also around the head, and since we want to create a sensorium this will be our focus area. We also wanted the second skin to be a part of the body unlike our previous design that was separate from the body.This enhances the idea of personal space as the person have something that is attached to them instead of something that functions only on external space. Hence we started over again with 123D Catch focusing only on the upper body.

Headpiece sketch,Rahman Student, 2013


Module 3 - Fabrication

We tested out where exactly personal space is in terms of a comfort zone. We also explored where the blurriness needs to be strong and where it needs to be weak to keep the comfort zone alive

Test model #1

Module 3 - Fabrication Test model #2

Test model #3

Chalkboard not strong enough to resist tension forces

Test model #2, Rahman Student, 2013

We tested out a rail system by making a Rhino model of it. After further consideration we understood that the plywood on a rail, would be difficult. It would not run smoothly on the rail and it would be a big chance that it would break.

In this mechanical system the ribs and the slits were first attempted to model in a cardboard with a thickness of 6mm which didn’t work out that well. The layout is in the first collage as shown. However when the same layout of ribs and plates were attempted in a cardboard of 1 mm thick it functioned well with the pin joint on both sides as seen in the collages below. Hence, when we build a 1:1 scale model we have to use plywood which is very thin in width so that it corresponds well as a model.

Springsteel= Bendable and strong

Chalkboard tes model #2, Aagenaes &, Rahman Student, 2013

Final rib system - plywood

Rib system with folding

Module 3 - Fabrication

Final folding system

Final rib system, Aagenaes &, Rahman Student, 2013

In order to design our second skin, we explored with different folding techniques which allowed movement that could stretch and restore/fall down. While experimenting with these foldings we had a triangular pattern as it responded to the skin that could cover the arc-like ribs. The book Folding Techniques for designers (2011) helped us a lot when it came to finding the right folding technique.

Final folding system, Aagenaes &, Rahman Student, 2013

Front of face

Module 3 - Fabrication

The red dots in the sketch represents the areas where closure and suffocation were evident when testing how much the second skin needs to be exposed. As a result, the areas mainly around the eyes and the nose need to be exposed/open the most. When I moved the head around using cone of vision in a static state, the spots that needed cutouts/openness followed the outline of the face which means that the exposed/open parts would have to follow a similar layout.

Folding system Aagenaes &, Rahman Student, 2013

Module 3 - Fabrication

Fabrication timeline, Aagenaes &, Rahman Student, 2013

Module 3 – Fabrication – Final Model

Sensorium in motion, Aagenaes &, Rahman Student, 2013

Module 4 - Reflection Before this subject started I did not know what CAD meant and neither how to use one. Looking back on what I have gained from this subject, I am more than satisfied. Not only because I actually managed to finish and create the final model, but of all the programs and techniques I had to learn in order to get there. Rhino, InDesign, FabLab and folding techniques is something I never had used before and now know how to manage. One of the first readings that captured my attention was “How to lay out a croissant”. When we were asked to measure our object the first thing I started to think about was using a measuring tape and find out the measurements. The reading gave me ideas of how to look at an object in a different way. This is one of the key things you have to do when you are designing something. The second lecture presented all of the systems very well. A fan is a combination of both “panel and fold” and “skin and bone”. A system is a set of things working together as a part of a mechanism or an interconnecting network (Loh, 2013.) Each of the systems includes details and knowledge in order to succeed in making a strong and functional model. Architecture and Material Techniques (2009) gave an explanation of how designers use digital fabrication and material techniques to calibrate between virtual model and physical artifact. 3D modeling and digital fabrication have expanded the boundaries of architectural construction, but it also has its limitations. For our model we found the folding pattern in the book Folding Techniques for designers, (2011) and then we created the folding system using a paneling tool in Rhino that had the same pattern. Rhino made the folding pattern accurate and to the exact scale that we wanted it to be. On the other hand, when we sent it to FabLab for fabrication we experienced that the etched line was very weak. We had to score everything over again with a Stanley knife in order to fold it properly. Craft as a concept has change throughout the years. Today we need to look critically at how digital mediation restructuring design and production and consequently redefining craft (Marble 2008). Craft today is not all about handmade pieces but have expanded to the design making process, where technological programs are now essential. The introduction of digital tools is also discussed by Rifkin ( 2011), and I believe that the way we look at craft and design today is strongly related to computer programs and technology. I also believe that this is improving and expanding our designs, but that we have to have in mind the handmade pieces and the way we used to design without using any technology. From this subject I have gained knowledge in handcrafting, through folding mechanisms, and in computer programs and technology.. The two ways of designing combined has given me the opportunities to see positive and negative characteristics of the two ways of designing. They are for filling each other and when using them both together you get a great combination of what we today is calling the design making process.

Module 4 - Reflection Mechanichal system

I am very happy with how the mechaniclal system turned out. We used a lot of time testing different systems and at the end we really figured outhe how to work out the pin joint and the ribs.


The organza we used in between each fold gave the affect that we wanted to create – a sensorioum. The blurriness from Olafur Ellisasons work really came through in our design

Personal space

We worked out the graduation that we identified when exploring personl space. Cut outs – both using triangles and squares - gave us the opportunity to create the different exposed areas.


Cubeme, 2013, Olafur Eliasson, Viewed at September 2013 Designboom, 2010, Studion Olafur Eliasson, Viewed at Sept 2013 Miralles, E, Pinos, C “How to lay out a croissant” El Croquis, 49/50, pp. 240-241 Iwamoto, L 2009, Digital fabrications: architectural and material techniques, Princeton Architectural Press, New York, Selected Extracts Jackson P., 2011, Folding Techniques for designer, Laurence King GBR Loh P., 2013, Lecture week 2 Material systems, University of Melbourne, Melbourne Marble, S 2008 ‘Imagining Risk’ In P Bernstein, P Deamer (eds). Building the Future: Recasting Labor in Architecture/, Princeton Architectural Press, New York, pp 38-42 Mekanism Skateboards, Olafur Eliasson, Vied at Sept 2013 Rifkin, J 2011 “Distributed Capitalism’ in The third Industrial Revolution Palgrave Macmillan, New York pp107-126 Snips and Snippets, 2009, Snips and Snippets, October 2009 Viewed at Sept 2013:

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