M4 Journal_Jonathan Leong_674599

DIGITAL DESIGN + FABRICATION SM1, 2015 ENIGMA

Jonathan Wei Loong Leong 674599 Rosemary Gunzburg + Seminar 5

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Introduction In Digital Design and Fabrication ENVS20001, students were required to design and build a wearable structure that responds to an individual’s interpretation of personal space.

The ‘Second Skin’ had to be designed based upon a chosen material system that will be studied from the beginning of the semester The brief also called us to create a volumetric design that could bring about spatial and emotional effects. As the subject’s name suggests, the design and fabrication was carried out with the aid of digital technology.

This journal records the design process I went through individually and with my team mates in which we developed our digital design and fabrication skills and knowledge.

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CONTENTS Module 1 - Ideation

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Module 2 - Design

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Module 3 - Fabrication

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Module 4 - Reflection

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Appendix

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M1. IDEATION

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OBJECT: STEGOSAURUS MODEL With the intention to better understand the Section and Profile System given to me, measured drawings of the Stegosaurus model were the first step taken because “doing measured drawings makes one observe every detail, understanding the full meaning and workings of a designer’s product” (Heath et al., 2000).

NORTH (Stegosaurus’ head)

Basic Dimensions: 430 mm Length x 235 mm Height x 110mm Width

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EAST

WEST

PLAN VIEW PHOTO (not to scale)

SOUTH (Stegosaurus’ tail)

MEASURING AND DRAWING

235 mm

To measure my object, photographs of elevation views of my object were taken and measured using a scale ruler and measuring tape. Then, the precise measurements were used to rescale the photographs correctly in Photoshop before printing and tracing my object’s outline traditionally by hand. In the reading “How to lay out a croissant” by Mirailles & Pinos (1988), the “wrapped up” croissant, concealing what was on its inside. This inspired me to consider what is considered the “insides” of my system where the whole form can actually be seen at once unlike the croissant. I realised that the “insides” of my section and profile system could be considered as the shaded RED pieces (shown in measured drawings) which are actually the main support system. They hold all the other “outside” pieces such as the ribs of the stegosaurus in place, giving it its form.

SCALE 1:2 430 mm

EAST ELEVATION (Stegosaurus Head facing North)

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235 mm

MEASURING AND DRAWING

SCALE 1:2 430 mm WEST ELEVATION (Stegosaurus Head facing North)

- The shaded RED pieces indicate the main structural support system of the model. Without these pieces, the model would not be able to carry the other pieces which are crucial to identifying the model as a stegosaurus.

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235 mm

170 mm

235 mm

MEASURING AND DRAWING

SCALE 1:2

SCALE 1:2 110 mm

110 mm

NORTH ELEVATION of Main Support System

NORTH ELEVATION

SCALE 1:2 110 mm SOUTH ELEVATION

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DIGITAL MODELLING The reading “Inside Rhinoceros” really helped me to fully understand the basics of 3D modelling and the key functions of Rhinoceros software, allowing me to know the limitations and opportunities of digital modelling before I begun the digital modelling process on Rhino. The next page details the steps taken for digital modelling: NORTH (Stegosaurus’ head)

EAST

WEST

SOUTH (Stegosaurus’ tail)

PERSPECTIVE VIEW 12

PLAN VIEW

DIGITAL MODELLING

WEST ELEVATION

NORTH ELEVATION

Digital Modelling Steps:

1. The board with pieces taken out were photocopied and placed in Rhino 5.

2. The pieces were traced with “curve” and “mirror” functions.

3. The traced pieces were “extruded” out as solids.

4. The solid pieces were then put into position by using “gumball”, “move”, “rotate” functions.

5. Once all the pieces were in place, A “wood material” was assigned to the pieces and the view was changed to “Rendered”.

6. Images of the rendered digital model were saved.

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SYSTEM ANALYSIS Characteristics/Rules of a Section and Profile System: 1. RIGID VOLUME APPEARANCE - Many pieces of planes combine hori-

2. JOINTS SYSTEM - The profile can be separated to smaller sections and

zontally and vertically to seemingly form a fixed volume. When more

combined back at any time, because of its notched joint system. No

pieces are arranged together tightly, the perception of the volume is

adhesive such as glue is required. Interlocking pieces are able to hold

stronger as the singular planes combine to form a more 3 dimensional

each other tightly with the right amount of gap for joining.

shape (profile). However, this appearance of volume changes according to different angles.

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SYSTEM ANALYSIS Characteristics of a Section and Profile System: 3. PORTABLE - once separated to smaller sections, the pieces are easy

4. FLEXIBILITY IN FORM - No hard and fast rule on how to connect the

to transport around.

pieces if they have the same type of joints. Different profiles can be created from the same section pieces.

Easily separated and packed into a box for quick assembly eventually

A random profile created by simply joining different pieces of the stegosaurus model.

Could also be fitted back into original wooden boards to save space

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VOLUME Based on my detailed system analysis, I decided to challenge the Rigid Volume Appearance to create a FLEXIBLE Volume Appearance instead. Doing so incorporated the manipulation my analysis on how rigid notched joint systems work. This enabled me to create a rotating notch joint system that is unique.

Overall, my sketch models propelled me forward to explore my opportunities in creating flexible, reactive second skins that can be controlled by a user in response to personal space. These opportunities will be shown in the following sketch designs.

MODEL PIECES LAYED OUT

PIECES JOINED TO CENTRAL PIECE

A SIDE PIECE ROTATED

ALL SIDE PIECES ROTATED CREATING VOLUME WITHIN

Sketch Model Developmental Process: 1. Pieces of paper were measured and cut by trial and error to find the right measurements to allow smooth notch rotation.

2. With the right measurements known, the paper measurements were transferred to cardboard pieces.

3. The central piece was inspired by the 4 notch joined piece found in the main support structure of the Stegosaurus. In this case, it also acts as the main support piece for the 4 rotating side pieces.

MATERIALS AND EQUIPMENT USED

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FURTHER DEVELOPEDMENT: Changing Flexbility into Rigidity and Vice Versa

LAYOUT

DOWNWARD POSITION

HORIZONTAL POSITION

UPWARD POSITION

Although flexible qualities may be good, I realised that there may be a need for RIGID structures at times. Therefore, I then created another system to maintain the RIGIDITY of a chosen Profile after its flexible shifting. This system is explained as follows: - 4 holes were pierced into the rotating piece (the piece with an arrow, as shown above). Satay sticks were put through to hold the rotating piece in position. These sticks can be taken out to allow rotation of the piece and placed back when the desired position is obtained.

An Alternative Sketch Model

WIth the first sketch model done, I decided to experiment with a central piece that had angled joints instead. The result turned out to be quite good. However, the Volume in this profile could not be seen as clealrly. This idea could be further developed to create a better volume appearance by adding in more angled joints and side pieces. It has the potential to become an enclosing 2nd Skin that can be controlled by the wearer.

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SKETCH DESIGN #1 In this first proposal, I was inspired by Sommer’s (1969) statement that ““aggressive acts include threat gestures such as sharp movements and hand-raising”. I took on a precedent of a knight and how they had offensive and defensive capabilities to protect themselves by using a shield and a sword. In response, my sketch design created a combination of both offense and defense on an arm, following the arm shape to conceal the design in some manner.

The design can then be activated in times of threat.

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SKETCH DESIGN #2 In my second proposal, I responded to Sommer’s (1969) idea of personal space as a “portable territory”.

Sommer (1969) mentioned that “obstruction of any sort affords the subject a certain degree of relief and confidence not otherwise attainable.” As such, I wanted to create a design that could be expand and withdraw in its volume, similar to the opening and closing of a giant clam. In its withdrawn hiding state, it creates a more secluded personal space as “lights become dimmer, and vision is hindered, preventing distractions” as argued by Sommer (1969).

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SKETCH DESIGN #3 Sommer (1969) mentioned that “people generally tolerate closer presence at the sides than at the front.� While this is true, Sommer was only talking about what could be seen within our view range. I felt that he overlooked what is out of our view range, such as an unsuspecting presence from the back. In response, I designed a reactive design that was inspired by car views. This enabled a user to widen his viewing range to monitor his whole surrounding personal space when necessary while secluding himself in front as well.

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M2. DESIGN DESIGN GROUP: Jonathan Leong (myself) Jeremy Cheang Will Garvin

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CONCEPT DEVELOPMENT Based on my sketch design #1, the knight, my concept of offensive and defensive states were taken forward by our group. Offensive and defensive stances were what we considered as one of the very basic interpretations of personal space as . But instead of focusing on offense and defense, we simplified our concept to active and passive states. The idea of an unassuming, deployable design that would be a source of reassurance for the wearer in passive state. The design would aim to be a protective and aggressive agent when actively deployed in times of threats through the augmentation of its form.

“…invasion of personal space is an intrusion into a person’s self-boundaries.”

- Sommer (1969)

BODY MAPPING

To understand our design site, we mapped out Jeremy’s body response to unsuspecting threats. This is done by throwing tennis balls at him strategically at different points. Meanwhile, his responses were photographed, recorded and detailed analyses were documented as follows:

Sequential photos of response to thrown tennis ball

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MAPPING REACTIONS The photographs that were taken were superimposed and it’s most saturated areas indicate the parts of Jeremy’s body that are most static in contrast to the translucent parts which show the most movement. Based on the images, it can be observed that his hands seem to disappear. This shows that Jeremy’s arm movement is the most prominent movement in his response to the threat.

Static and Moving body parts based on colour saturation

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MAPPING MOVEMENT When overlaying the images and studying Jeremy’s arm movement, a series of movement lines were drawn out to depict his body movements.

The darkest figure in the images depict the final position Jeremy has taken in response to threats. Meanwhile, the drawn lines on the right of each image are an abstract representation of his movements, in which the thickest lines represent the strongest responses depicted through Jeremy’s arm.

Lines depict movement pathway

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MAPPING FORM Focusing on Jeremy’s arm movement, it can clearly be seen that he utilizes mainly his arm as a shield in front of him to protect himself. A natural reaction of protecting his face and sensitive body zones can be seen through the red spaces shaded in the images.

Abstract forms drawn out from arm movement

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MAPPING FLOW The following images depict the further exploration of body mapping in order to determine the sensitive areas that needed to be protected.

Jeremy’s body mapping results were combined together across and interconnected as one by “lofting” the arm movements that were generated into one whole form in Rhino.

Doing so, we were able to better understand the whole flow of volume that needed to be defended when Jeremy is moving.

Combination of movement pathways to obtain “flow”

Overall, the study of Jeremy’s response to an aggressive stimulus has helped to inform us on his personal space, guiding us on the body parts that we should focus on in our design. It has revealed to us “invisible boundaries” of personal space as mentioned by Sommer (1969) through close contact of aggressive threats.

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DESIGN PROPOSAL V1 – The Fan Shield Our initial design proposal was a shield that was hidden in plain sight on the arm when passive but “fans out” to become a strong, large shield when activated. The shielding pieces revolve around a central pivot as it progresses from a passive to active state. However, our final verdict was that the central pivot was a poor representation of our section and profile system. Furthermore, the design also had issues based on its materiality thickness versus its functionality. If a thick material was used, the shield loses its property as an unassuming passive design due to its bulkiness. This would also mean that Jeremy’s arm could not move quickly. Meanwhile, if a thin material was used to overcome these issues, the shield would become flimsy, losing its defensive property in active state.

Digital designs of the fan shield that failed our performance criterias

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DESIGN PROPOSAL V2 – The Folding Flat Shield In contrast, the folding flat shield was a response to the failures we saw in the first design proposal. It was lighter and more agile in movement even if the material was thick. The form was mainly derived from my sketch design #1, where I explored offensive and defensive states. The folding shield will be deployed by pulling a thread. As an added feature, when the arm is brought in front for protection, extended blades also protrude from the arm. Overall, this version enables the protection of the user but hinders his views.

Passive 30 State - Side view

Passive to Active state transition

Passive State

Fully Active State

Fully Active State - Perspective View

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DESIGN PROPOSAL V3– The Folding Sharp Shield A slight alteration in the folding flat shield resulted in the birth of the folding sharp shield. In this version, the folding shield pieces were rotated by 90 degrees to provide a more aggressive look when active. This is because they mimic a knife’s sharp edge from the front view. This aggressive version was inspired by one of Jeremy’s sketch design proposals. Lightweight and agile, the sharp shield also enables the user to have a clearer view through the shield when it is in its active state at the expense of some defense.

User’s view through shield

Perspective Top View Passive to Active State transition

Perspective views

OTHER SHIELD DESIGN SKETCHES

Conceptual sketches of shield designs

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MOIRE effect PRECEDENT CONCEPT: View angles can change viewer perceptions Moire patterns were another precedent that was studied. When a Moire pattern is observed from different angles, the visibility and transparency through it changes accordingly. Similarly, the same idea can be applied to our user’s visibility and the public’s view towards him. By positioning our folding shield pieces at a certain angle, we would be able to control what the wearer would see and thus change their perceptions and reactions towards an approaching threat. This idea of angled views can be seen applied in our final design proposal for Module 2: the folding angled shield (in the following pages).

Moire (Ostiguy 2012)

BANQ RESTAURANT PRECEDENT CONCEPT: Contouring sections to create a unique profile The BanQ restaurant by Office DA was one of the precedents we studied due to its similarity to our section and profile system. The contoured effects of the section pieces that were built from the ceiling down through the pillar were really aesthetically pleasing, producing an effect of a smooth undulating profile within the building itself. To produce this effect the pieces had to be properly aligned next to each other with the right spacing and positioning. This construction technique inspired us to create a transitioning of passive to active state on the extended blades of our final design proposal for Module 2: the folding angled shield (in the following pages).

BanQ Restaurant (Johnston 2009)

Final Design Proposal for M2 In our final design proposal for Module 2, we decided to carry on developing the folding shields due to its lightweight and agility. This would allow for Jeremy’s quick arm movements as analyzed from his body mapping. From understanding Moire patterns: how view angles could change perceptions, we repositioned the folding shield pieces to an angled position. This enabled a balance between defense and viewing capabilities as a user of the shield. Furthermore, the angled pieces also provided a quicker protection as the arm swings up for defense, compared to the flat shielding pieces. Meanwhile, the BanQ restaurant precedent of contoured sections is applied to the extended blades on the arm. It depicts a transition from passiveness to activeness in its profile shown through wavy extended blades that gradually morph into jagged sharp edges as it approaches the active forearm.

Passive to Active State Transition

Perspective with Design details

PROTOTYPE – Arm Support Structure Direct measurements of Jeremy’s forearm were taken as the 123D Catch software was unavailable for use during our semester. With the direct measurements, a physical sketch model tested out before creating a digital model of the arm support. A solid, strong material was chosen to create a sturdy mainframe support that could hold the folding shield pieces. The final material considered was the 3mm perspex as it was solid and yet transparent, allowing the support structure to remain somewhat hidden.

Prototype Arm Support measured and tested on Jeremy’s arm

PROTOTYPE - Folding Mechanism The folding mechanisms to activate the shield from its passive state was also tested. The mechanism works by pulling a thread that has been looped through strategically placed holes on the shielding pieces and supporting structures. Different measurements and positions of thread pulling angles and forces were carefully considered to determine the most efficient and smooth deployment. The following sketched image is the final best folding mechanism chosen to initiate the state change from passive to active state and vice versa.

Direction of force to apply on string to activate folding

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Prototype – Materiality and functionality For the materiality of the folding shield, we considered the transparent 3mm Perspex and the 3mm MDF board. However, the Perspex was rejected after testing. This was because it’s surface was too slippery, causing it to fall out of the notches too easiliy when it was slotted in. Furthermore, the Perspex was too solid, losing a malleable quality that we needed for rotating the pieces. Finally, MDF was selected as the better choice for the folding shield pieces.

Perspex prototype

MDF Prototype

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As for the extended blades from the forearm, the final material that chosen was a thin paper-like material in contrast to the thick 3mm MDF folding shield pieces. This was because really thin materials would be able to depict the “sharpness� of the blade’s edges when viewed from the front. The contour transitions from smooth, passive waves to jagged, active edges were also tested out on the arm support structure. The lightness and flexibility of a thin material would also enable the blades to move slightly when the arm moves around, enhancing the perception of an active moving threat.

Testing flexibility and thinness of blades

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Contour changes on blade

TESTING EFFECTS – The Wide Angle View Through the angled pieces, we realized that we were able to help the viewer focus on a wider range of view for his safety in contrast to a fully blocked view as depicted by the coloured images. As a further development to the angled shielding pieces, mirrors were also applied unto the back surface of the angled pieces. With the mirror’s reflection of the user’s rear surroundings, his viewing range further increased. This provides the viewer with an better overall perception of his surroundings, both in the front and back of him, without much body movement.

Blocked view

Widened view

Reflective view

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TESTING EFFECTS - Overall Desired Effects of Design The red lines in this picture indicate the main area that can be protected by Jeremy through his arm movement in response to threats.

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FINAL PHYSICAL PROTOTYPE

Views toward a user in active state

Overall, view with flexible extended blades

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M3. FABRICATION DESIGN GROUP: Jonathan Leong (myself) Jeremy Cheang Will Garvin

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FEEDBACK from Module 2 PRESENTATION Our shield design was too small in scale, as such, the active state becomes somewhat unimpactful it its effects as there is not much transition from the passive state. Besides that, we were also told to focus on the our main concept driving our design.

Lastly, it was also mentioned that we should utilize our body mapping FLOWS for our final form.

BRIEF

“Volume, project must address the 3 dimensionality and the volumetric nature of the body. The design must create an envelope or volume…”

RE-EXAMINING OUR CONCEPT After the feedback, we decided to take a step back to re-examine our concept, brief and body mapping. Our interpretation and understanding of our own concept and the design brief begin to mature as we studied it again. Instead of the very literal approach of active and passive states that we went with during Module 2, we begin to understand active and passiveness in a more emotional and experiential way. Passive feelings are expressed through the initial static condition of our design, while active and intense feelings are then expressed in the kinetic reactivity of the design when the user’s discomfort is triggered.

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BODY MAPPING RE-EXAMINED - MAPPING VOLUMES Based on our previous body mapping analyses of unsuspecting, physical threats through tennis ball, we were able to derive volumetric forms that envelope around Jeremy when he moved his arms around to protect himself. Using Rhino, we were able to map out the points of arm movements 3 dimensionally in virtual space. This helped us to create an enveloping volume that directed us to our new design proposals.

Line drawings of combined volumes

Converting lines into volumes

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NEW DESIGN PROPOSALS – The Envelopes

Through the abstraction of the mapped out volumes, we begin a series of large volumetric forms that aim to envelope the user’s body as a stronger protection and expression of feelings through its reactivity in states.

In this scenario, the reading on manipulating surface points and solid modelling approaches explained by Cheng, R (2008) in “Inside Rhinoceros” really gave us a good foundation on how to create and control our digital design forms to produce the desired outcomes we needed. After a series of 6 iterations of single and double envelopes (depicted by the smaller series of images), we narrowed it down to a final single envelope form (depicted by the large image) that responded best to our concept. This form was the most physically feasible based on the limitations and capabilities of software and mechanisms needed to fabricate it. The following pages would showcase the loopy process through prototypes tested and precedents that led us to this final form.

6 iterations of single and double envelopes

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PROTOTYPES for double envelopes (rejected ideas) One of the initial forms proposed was the double envelope form, where the exterior envelope would be a static grid form that reflected passiveness while the interior envelope that is flexible and moves reflects activeness of feelings when the user moves his body. The following images depict flexible interior envelopes made out of 1mm mountboard and 0.6mm Polypropylene to test its active moving effects.

We found ourselves falling back once again to Week 3’s readings on “Panelling tools for Rhino” to aid us in producing the grids and notches we needed for this prototype.

Mountboard grid

Effects testing

Rendered double envelope proposal that was rejected after testing

Polypropylene grid

In the end, the kinetic double envelope form was rejected because its overall desired effect was not as strong as the new fabric wrapping idea we encountered (explained in the following precedent) 49

PRECEDENT for tensile fabric idea

Burnham Pavillion (Reyes 2014)

Burnham Pavillion by Zaha Hadid CONCEPT: Tensile materials could hide and reveal based on its tension.

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Zaha Pavillion, Warm (Wade 2009) From examining the pavilion, we realized that tightly wrapped tensile materials over a frame provides an opportunity to show the frame’s form clearly. In contrast, if the tensile material was wrapped loosely, the frame forms would not be seen clearly. This inspired us to explore the tension of fabric on a section and profile grid and how they could reflect passive and active states by hiding and revealing the grid itself.

This became the main precedent that led us to our final design.

PROTOTYPES for tensile fabric idea Moving forward with the inspiration from the precedent, we then tested the effects produced on two different types of grids that were produced through the aid of parametric modelling. We found ourselves going back to Week 4’s reading; “Lost in Parametric Space� by Scheurer, F. and Stehling, H (2011) to better understand how to use parametric modelling in designing these prototype frame designs. Different tensile fabrics were then wrapped around each frame and thread was used as the retractive mechanism to pull the fabric inwards, creating the dimple effect we desired. The following images depict the different frames and fabrics explored.

XY plane waffle grid wrapped with white tensile fabric (rejected idea)

After consideration of the effects, we decided to go with the radial waffle grid and black fabric as it better conceals the section and profile frame beneath it emphasizing our concept of passiveness. Meanwhile, we felt that the dimple effects produced when the fabric was in tension created a unique intense effect that represented active, stressful feelings very well.

Radial waffle grid wrapped with black tensile fabric (chosen for design)

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PROTOTYPES for retractive mechanism The basic idea for the retraction was to pull all the sewed thread to a single point on the interior of the envelope. Before sewing, different segments of activation were determined digitally and colour coded as depicted to enable a structured fabrication process eventually. Reading up on “Panelling tools for Rhino� from Week 3 also helped us to understand how to create the beautiful digital renders of the dimples effect.

This idea was eventually developed due to the limited space for hand movement within the envelope structure. A rotating handle system was created where all the thread was connected to a handle that would be twisted to initiate the tension and dimple effect.

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Corresponding activation areas as colour coded

Rotation of handle anti-clockwise to activate dimple effects

FULL SCALE PROTOTYPE For our full scale wearable prototype, the best surface envelope form was chosen and a radial waffle grid was created using the parametric Grasshopper definition we had. This wearable prototype enabled us to fully test out the fabric’s properties and the effectiveness of our retractive mechanisms since “Making is the most powerful way to solve problems “as mentioned by Charny (2012). Through this full scale wearable prototype, many more issues were realized and optimisations were made before achieving our actual final form. The optimisations carried out to this prototype will be further explained in the coming pages.

Surface Envelope Chosen

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FULL SCALE PROTOTYPE - Section and Profile Frames

Elevations and Plan of Prototype frame

Grasshopper script used to obtain frames

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PASSIVE STATE RENDER

ACTIVE STATE RENDER

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PASSIVE STATE

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ACTIVE STATE

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ISSUES IN FULL SCALE PROTOTYPE 1. The interior space for the right arm had to be enlarged to accommodate the proper functioning of the retractive system and comfort for Jeremy’s arm.

2. The design form had to be altered to fit Jeremy’s body shape better and enable it to rest on his shoulder comfortably. This was partly resolved by adding sponges to the shoulder support within the design.

3. The many small dimple effects were not very impactful in its active state due to the small scale of shifts and complications in retractive string tensions. Thus, the gaps between each frame piece was enlarged to create bigger dimples in the final model.

4. The large size of our full scale wearable prototype resulted in us splitting the model midway into two segments: a top and bottom segment separately when fabricated. This proved to be a bad choice when we could not reconnect the two fabricated segments properly.

5.The retractive mechanism was also revised into a finger toggle mechanism instead to have a better control over the passiveactive state transitions.

6. The prototype fabric also had some issues with transparency and elasticity. This was rectified by obtaining a darker and more elastic fabric instead.

The following pages would detail the optimisations carried out to achieve our final presented design form. The idea of “abstraction: the simplification of complex systems” introduced by Scheurer’s “Lost in Parametric Space” (2011) was applied in our optimisations. This really helped us to simplify our design while maintaining the essence and ideas we wanted to bring across.

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OPTIMISATION TO OBTAIN RESOLVED FINAL FORM As mentioned in the issues, the design form had to be altered to better fit Jeremy’s body. The following diagram depicts the steps taken to obtain our final form. The subtractive method was applied to create an appropriate interior space for Jeremy’s right arm movement and shoulder support. The final waffle grid was also enlarged to have bigger gaps to produce bigger, bolder dimple effects.

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Digital models showing more space for arm and how design sits on shoulder better

Final Frame

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OPTIMISATION FOR LASER CUT FABRICATION PRECEDENT [C]space by Allen Demsey and Alvin Huang CONCEPT: Discontinuous pieces that hold each other together as a whole.

In the large [C]space pavilion, smaller discontinuous section pieces hold together the entire structure by numerous interlocking notches, ultimately forming a full rigid structure.

[C]space (Lambert 2010)

[C]space Pavillion, Bedford Square (Sch채fer 2008)

Due to the large size of our design form, the laser cutter could not cut some of our long vertical frames as one piece. We resolved this by applying the segmentation technique of pieces utilized in the [C] space pavillion. The long vertical frame pieces in our design were cut into separate pieces strategically at different points. This enabled us to maintain our final design form as each vertical piece could firmly hold the other together in position without any adhesive or form manipulation. This was proved to be better than our previous full scale prototype that had two separated top and bottom segments taped together weakly as one whole piece.

Top and Bottom segments taped together inconveniently

Separated Top segment of full scale prototype

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HIghlighted long frames that were strategically cut

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The uncut vertical piece behind supports the cut piece in front. This pattern alternates at specific points, allowing the pieces to hold each other.

OPTIMISATION OF RETRACTIVE MECHANISM Because the rotating handle mechanism was hard to manage and control in our prototype version. We redeveloped the handle into digitally designed and 3D printed finger toggles. These finger toggles are similar to rings that are inserted on each fingertip to pull the threads accordingly when Jeremy clenches his fist. This retractive mechanism reduces Jeremy’s whole arm movement to just the micro-movements of his hand and fingers, simplifying the control mechanism. Furthermore, separate movements of each finger by itself can actively control which area the dimple effect occurs, creating a more directed response to the active area of threat.

Complicated retraction

Digital drawing of finger toggle system

3D printing the finger toggles and final product

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FINAL DIGITAL SECOND SKIN - FRAMES

AXONOMETRIC

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ELEVATIONS

PLAN

FINAL DIGITAL SECOND SKIN - FABRIC AND FITTING

Views of design fittng onto user

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FINAL DIGITAL SECOND SKIN - EFFECTS

PASSIVE STATE

ACTIVE STATE

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FABRICATION SEQUENCE

Send Digital File for cutting

Test fitting

Obtain cut pieces and arrange

Fabric wrapping

Begin frame assembly

Finished frame assembly

Fabric sewing

Smoothen sharp edges

Finger toggle positioning and sewing

1. The laser cut job is submitted.

2. The cut pieces are taken out and arranged for assembly.

3. The longest vertical piece was used to hold all horizontal circular frames first before attaching all the other vertical pieces to the frame.

4. The sharp edges of the pieces were smoothened to prevent any possible injuries to the user when wearing the second skin.

5. The fabric is wrapped neatly around the fully assembled frame and held on the frame by sowing. Some Styrofoam blocks were placed at the frame edges to allow a better wrapping of the fabric around the frame.

6. The precise positions of the finger toggles were determined and connected by thread to the fabric.

7. Any creases on the fabric were sewed up neatly.

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ASSEMBLY DRAWINGS - Exploded Isonometric

FINGER TOGGLES

THREADS

FABRIC

EXPLODED FRAME FRAME

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ASSEMBLY POSITIONS ON WEARER

Unrolled Fabric Surface

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DESIGNING AND FABRICATING DIGITALLY

A response to”Architecture in the Digital Age” by Kolarevic (2003)

“Architects drew what they could built, and built what they could draw” - Branko Kolarevic (2003) In the past, design was limited to the capabilities of traditional drawing tools. Modern architects now have the opportunity to digitally design specifically with the capabilities of modern fabrication machines. With these newer technological advancements, digital fabrication can create many new opportunities based on budget, timing schedules, material availability and processing method as mentioned by Kolarevic (2003). For example, CNC milling and Laser cutting are both 2-dimensional fabrication methods that are commonly utilized nowadays. Considering our own design, our production options were going to be either one of these as well. As the scale of our design was considerably large, we actually considered using CNC milling to produce the frames for our envelope. However, we realized that CNC milling required thicker materials which would have made our design undesirably heavier in weight. As such, laser cutting was finally chosen for its better fabrication opportunities.

From the reading “Architecture in the Digital Age”, it can also be seen that 2 out of the 3 methods of digital production were used in our design process: 1. Subtractive fabrication techniques involve the removal of a specified volume of material from solids. This is done through cutting or abrading materials, leaving desired forms in the existing material. We mainly utilised this technique for the fabrication of our prototypes as well as the final project by laser cutting.

2. Additive fabrication in contrast, involves incremental formation of materials by adding substances in a layer-by-layer fashion.

Stereolithography is the fundamental format of additive fabrication, similar to the fabrication of solids in 3D printing. However, the technological limitations of this method could influence the design size, cost and production time. A widely accessible additive fabrication process is 3D printing with ABS plastic material. In our design, we utilised 3D printing to create our own designed finger toggles that cannot be simply bought anywhere.

3. Formative fabrication utilizes mechanical force, restrictive forms, heat or steam to form a digitally programmed shape. Therefore, any malleable material can be axially or surface constrained to reshape or deform into a precise form. Moulding or Die-casting methods are popular methods of formative fabrication for malleable but not elastic materials. However, this digital production method was not used by us in our design.

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How does digital fabrication processes and strategy effect my second skin project?

The digital fabrication processes and strategies have become one of the core elements In producing our design outcomes.

It really simplified our design process compared to manual measurements and constructions through trial and error. We relied heavily on digital fabrication processes to physically produce our digital designs for real life analyses and testing. It really simplified our design process compared to manual measurements and constructions through trial and error. Overall, digital designing and fabrication enabled a really quick and easy design process and outcome. The main fabrication method used in our design was definitely subtractive fabrication. This method was applied with the laser cutter, enabling us to quickly acquire precisely cut pieces with sharp clean finishes. Besides that, the assembling of fabricated pieces could be done conveniently with reference to the Rhino 3D model in the orthogonal viewports. Utilizing the surface contouring methods created through Grasshopper scripts enabled many prototypes to be digitally tested quickly to examine its visual effects. Lastly, the automated notches, labelling and neat layout by Grasshopper scripts allowed for accurate fittings and an automatically organized workflow. Overall, the utilization of digital designing and fabrication has really propelled us forward in terms of design process efficiency and production methods.

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COMPLETED REAL SECOND SKIN

PASSIVE STATE As we re-examined of our concept and brief, our interpretation of personal space and design ideas matured. While still portraying the idea of passive and active states, our interpretation of its presentation changed to a more emotional and experiential expression of strong drama and tension.

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ACTIVE STATE In its active state, our design displays the emotional tension of the user through the tension applied onto the fabric as a representation of the user’s stress to an approaching threat.

As the tension increases, the fabric deforms and withdraws into the frame, revealing our section and profile framing system stronger. At the same time, the fabric’s withdrawal from light also creates a strong depth of forms, shadows and transparency.

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FINAL OPTIMISATION FOR M4 VIDEO PRESENTATION After feedback from our Module 3 presentation, we were told to reduce the creases on our fabric wrap in preparation for the final video presentation.

The large creases on the front of our final model were very distracting and disruptive to the passive state of our model. It came to be due to our unforeseen knowledge and experience with fabrics wrapped around doubly curved surfaces. In order to overcome this issue, we applied a simple technique of stretching, folding and sewing the fabric in place neatly to remove the creases. In the end, our final fully optimized model had seam lines that were not as noticeable and unsettling as the previiously large creases. This enhanced the smoothness of fabric in its passive state and thus created a stronger impact in its active form when it is eventually activated.

Large creases on fabric Surface

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Creases sewed up neatly in front

Creases sewed up neatly at the back

FINAL MODEL FOR M4 VIDEO

The final touched up model had a smoother overall form with less creases all round.

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User activates the dimple effect when he feels uncomfortable with an approach

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M4. REFLECTION

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REFLECTION As mentioned in Lecture 11, design workflow is indeed non-linear. This loopy process was narrated through this journal as me and my group mates explored the many different ideas we had, going back and forth between virtual and physical designing. Throughout the process, I found myself constantly falling back to our concept and design brief to continue moving forward in the right direction. As Loh (2015) stated in Lecture 11, design really is both puzzle making and problem solving as a designer undergoes a search process to find the best final solution within budget, technological, and time constraints. I have learnt to appreciate and the understand the design thinking process better with my group.

As I went along the journey of digital designing and fabrication in this subject, I have to say that this subject has impressively taught me the widest range of contents this semester. Besides training my design thinking, this subject has really honed my skills in 3D Rhino modelling with the study of the readings provided on Rhino’s basic modelling, panelling tools, and parametric modelling using Grasshopper plugins coupled with the tech tutors support in workshops. All of these have allowed me to efficiently produce many extremely precise digital designs compared to the traditional method of drawing designs which is more prone to human error and timely. Likewise, the exposure to digital fabrication techniques such as laser cutting and 3D printing has really helped me to produce accurate physical designs outcomes so quickly and easily. Besides that, this subject has also taught me how to present my design ideas in a simplified, clear way through good photography and presentation layouts. Moreover, the idea of applying a tensile fabric to our design was a risky but rewarding design choice we made together as none of us actually had any proper prior knowledge on fabrics and sowing. But this enabled us to explore a whole new aspect of using tensile materials in designing.

Another thing I have learnt is that things do not always go smoothly when bringing digital designs into reality. Bernstein and Deamer (2008) discussed the weaknesses of bringing a digital model into the real world. I found this very true as the perfections of our digital model did not actually fully translate into reality. In the virtual world, complexities such as forces of gravity and structural integrity may not always be properly measured and shown by digital softwares. Reflecting upon my fabrication of the full scale prototype, the flawless dimple effect from our digital renders and perfection of the retractive system we designed digitally became struggles to achieve when we physically made it. As stated by Charny (2012), making is the most power-

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ful way to overcome issues. I really agree with this statement as I physically built the prototypes. Many unforeseen problems could be addressed in reality. Furthermore, the actual experiential effects of our designs could be really tested, compared and enhanced to fulfill our design concept and brief requirements better.

In the reading “The Third Industrial Revolution�, Rifkin (2011) talked about how the introduction of new digital design methods such as 3D printing and how the digital collaboration in an economy could dramatically change the current societal behaviours. Rifkin (2011) also suggested that the economies would advance better if it changes from a self-driven analogue approach of thinking to a collaborative digital approach of shared interests. I really found Rifkin’s suggestion agreeable. The internet today is one of the best digital platform to gather information and knowledge through collaboration. Going through my own design process, I realized that there were many times when I had to depend on the internet to inspire me in my design and gain the necessary knowledge on digital designing and fabrication techniques that were applied in my design. The opportunity to be able to access this collaborative pool of knowledge has really enabled me to bypass the tedious conventional processes of obtaining information by myself through books for example. In the future, this collaborative digital networking would definitely empower designers and clients direct communication where all opinions and interests can be shared together quickly, achieving satisfying design outcomes that meet the real needs of the people.

In terms of my final second skin outcome, I am really pleased with the overall product that my group has managed to accomplish together within our ability and capacity. All the digital knowledge and experiences that I have gathered from this subject will definitely be utilised in my future endeavours as an architect as the world progresses towards a more digital age. Digital design and Fabrication has really been a great milestone in my studies as it has really developed my designing techniques and opened my eyes to the opportunities of virtual designs in the current built environment.

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APPENDIX

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REFERENCES Berstein, P, Deamer, P 2008, Building the future: recasting labour in architecture, Princeton Architectural Press.

Charny, D 2012, Design and making: thinking through making, Danish Crafts, Copenhagen.

Cheng, R 2008, Inside rhinoceros 4, Thomson/Delmar Learning, Clifton Park, New York.

Heath, A, Heath, D, & Jensen, A 2000, 300 years of industrial design: function, form, technique, Watson-Guptill, New York.

Issa, R 2012, Paneling tools for rhinoceros 5, Robert McNeel and associates.

Johnston, W 2009, BanQ Restaurant, photograph, viewed 27 March 2015, <https://wadejohnston1962.files.wordpress.com/2009/12/bangrestaurant.jpg>.

Kolarevic, B 2003, Architecture in the digital age - design and manufacturing: digital production, Spon Press, London.

Lambert, L 2010, [C]space, photograph,viewed 12 May 2015, <https:// thefunambulistdotnet.files.wordpress.com/2010/12/drlpavilion28229. jpg>.

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Loh, P 2013, Lecture 11: 3rd industrial revolution, Melbourne.

Miralles, E & Pinos, C 1988/1991, How to lay out a croissant, En Construction.

Ostiguy, G 2012, Moire, photograph, viewed 27 March 2015, <https://i. ytimg.com/vi/99vcyH4Q3WM/maxresdefault.jpg>.

Reyes, A 2014, Burnham Pavillion, photograph, viewed on 6 May 2015, <https://www.pinterest.com/pin/58195020159768323/>.

Rifkin, J 2011, The third industrial revolution, Palgrave Macmillan, New York.

Sch채fer, S 2008, [C]space Pavillion, Bedford Square, photograph, viewed 12 May 2015, <https://www.flickr.com/photos/sfschafer/2686728958/http:// farm4.static.flickr.com/3023/2686728958_e83e654c85.jpg>.

Scheurer, F & Stehling, H 2011, Lost in parameter space?, AD: Architectural Design, Wiley.

Sommer, R 1969, Personal space: the behavioural basis of design, Prentice Hall, Englewood Clliffs, New Jersey.

Wade, C 2009, Zaha Pavillion, Warm, photograph, viewed 6 May 2015, <https://www.flickr.com/photos/24128440@N03/4113212947>.