Virtual Environments Final Submission Portfolio

VIRTUAL ENVIRONMENTS MITCHELL SU ・ 660192 ・ 2013/2 ・ GROUP 3

I ENVS10008 CONTENTS

CONTENTS Module One - Ideation

1

Module Two - Design

7

Module Three - Fabrication

13

Module Four - Reflection

19

Bibliography

23

Credits

25

MODULE ONE IDEATION

2 IDEATION

MEASURED SPACE The object chosen for observation was a coffee filter which is based on the materials system of panel and fold.

The panel and fold system has a very crisp and modular quality to it, much like origami. The simplicity offered by panel and fold makes it highly malleable and open in terms of create a volumed form.

Based on the readings from ‘300 Years of Industrial Design’, making observation to measure volume and space requires a multidisciplinary approach that uses multiple methods. As such, the methodology used to make these observations involved tracing and estimation, along with observational photos of the object’s occupied space and form.

Right - Observational Sketches

IDEATION 3 .

4 IDEATION

FOLDING A CROISSANT Deconstructing the paper filter was an essential part of understanding how it was assembled. Using the process described by Miralles’ ‘How to Layout a Croissant’, a net structure was revealed, with a folded edge that connects the two faces together and a crimped binding depression on the other. Using the reading as a guide, an assumption has been made into how the coffee filter is assembled. Initially, the coffee filter’s net is cut out from a singular piece of material and removed from the original sheet. It is then folded at the midpoint to create the two sides. Finally the edges are fused together in a crimping process that most likely either required a wet or heat process to do.

Above - Paper Filter Deconstruction Sketch

IDEATION 5 .

MODEL MAKING For making a physical model, initially a reproduction using regular paper was made and attached using glue rather than a crimping process. The end result was not as successful as anticipated in that the integrity of the bond wasn’t as strong as the original as crimping the open edge made for a more resilient structure. Another alternative was found using an origami folding technique that is quite common and used to make cups. The advantage of this is that the filter is made now from a single piece of paper, creating a panel and fold system with less opportunities for fatigue and movement.

Above - Model Recreation of Paper Filter

6 IDEATION

PERSONAL SPACE Personal space can be viewed in both the literal and metaphorical sense. According to Edward T. Hall (1966), there are varying levels of space and each has its own particular reaction by multiple parties - the closer one individual is to the other within these spaces, the more intimate the reaction.

This intimacy is a clear expression of social values and customs in society and as such there are varying conceptions of what is and isn’t personal space. As described in Sommer’s ‘Personal space : The Behavioral Basis of Design’, in some cultures, physical contact is avoided quite often whereas in others it is considered perfectly normal.

These varying differences in the definition of personal space has a perverse affect on society and can be seen in what is considered acceptable and what is not.

But at its very essence, personal space is about interaction at a sensory and cognitive level - the perception of one’s own interactions with others and vice versa. We use all of our senses in the process of interacting with an individual and as a result, in some instances we take this for granted.

MODULE TWO DESIGN

8 DESIGN

PRECEDENTS

A SNAIL’S SHELL

WEARABLE GEOMETRY

ORIGAMI FASHION

Above - Observation of Snail’s Shell.

Above - Wearable Geometry (Hrustic 2010).

Above - Paper-based Fashion Accessory (Veasyble 2010).

In the process of designing the second skin, inspiration to define personal space begun to be drawn from the notion of a shell’s snail. The idea is that the shell is the personal space of the snail itself, a home in every sense for it. The snail carries it everywhere on its back and whenever it feels danger or is threatened, it will retreat back into it to remain hidden.

In the fashion world, it was observed that the use of the material systems of panel and fold along with section and extrude have been applied before in a wearable form.

Another item of wearable geometry found somewhat addressed the ideas of personal space as explored before by limiting sensory perception under a shell.

Drawing from that, we determined that our second skin should convey a sense of territory. We also thought about the idea of second skin that is portable and is responsive and dynamic to the situation at hand. This is because we feel that personal space is not something that remains static, but rather changes according to an individual’s mood.

As shown above, a simple and modular geometric form has been used in a pattern then abstracted with variables and changes to create a more complex and unusual appearance. The use of paper or cardboard as the principle material lends the design a rigid and somewhat solid material quality that isn’t normally seen in fabrics.

The accessory uses a section extrude kind of materials system that relies on a concertina mechanism to create a blind fold that covers the eyes like a shell. The use of a concertina is interesting in that this provides an otherwise static and rigid pattern with a mechanism to move and change with the body.

However in saying such, this would be difficult to implement at a larger scale whilst still producing a stable design.

DESIGN 9 .

DESIGNING IN A DIGITAL WORLD

CONTEXT + MATERIALITY

PARAMETRIC DESIGN

Above - UK Pavilion (Xia 2010).

Above - Roof Detail of Haesley Nine Bridges Golf Clubhouse (Ban 2010).

The UK Pavilion at the Shanghai Expo in 2010 was designed by Thomas Heatherwick and used design to manipulate light and movement to create an organic and humanistic effect to how the building presents itself. The structure of the UK Pavilion appears to be a cuboid form with numerous stick protruding from the surface. The human mind has an affinity to the effects put to play by light. The temperature, or color along with the patterns and intensity of light have an adverse affect on human behavior. These changes occur due to alterations of biochemical processes within the body. This can be the difference between an active and tired mind (Siemens, 2013).

For a design like Shigeru Ban’s Haesley Nine Bridges Golf Clubhouse as shown in Scheurer’s ‘Lost in Parametric Space?’ (2011), the use of abstraction works particularly well because there are a well defined and highly visible set of rules that can be derived from the building’s roof and column structure. This simplifies the process of creating a structurally sound support system for the building, resulting in a high level of efficiencies. However, the real problem lies with a design that relies on a more organic and physical approach.

It is important to note that a key aspect of Heatherwick’s designs are that there is a notion of how design is not developed in a vacuum, but rather needs to maintain a symbiosis with the environment surrounding it. Paying sympathetic attention to the context is and being true to the physical and intrinsic qualities of a material can enhance that effect. This will be further explored in relation to the readings and conclusions from both physical and digital prototypes developed so far.

In a CAD program, this is arguably difficult to recreate as the conventional laws of physics do not apply here. Given the current level of technological advancements in CAD, this marks the limits of abstraction of a physical form into the digital world wherein the methodical system of 3D modeling cannot realistically compete with the malleable ingenuity of the human hand. For a design that relies much on a crafted process through origami, creating a model via parametric design possesses inherent difficulties become far more tangible.

10 DESIGN

DIGITAL PROTOTYPE The prototype developed using Rhino envisions a second skin in the shape of a sphere that envelops the user like with a snail’s shell. The shell would be carried on the back with a folding mechanism making it more compact. The shell would have a net-like structure so that the use can still see outside, but at the same time be able to mark their own ‘territory’ and effectively create their own isolated personal space.

Above - Observational Sketches (Antonia and Forrester 2013)

DESIGN 11 .

INITIAL PROTOTYPE The prototype was constructed using newspaper cut into circles and folded into a single piece. Three pieces are arranged into triangular modules that somewhat resemble flowers and then arranged into more complex arrays inspired by buckyballs. The various polygons produced by tessellating the modules are what produce the necessary variations to create a slight curvature in the surface which would then eventually close into a spherical form.

Above - Initial Prototype

12 DESIGN

FINAL PROTOTYPE The final physical prototype is a refinement of initial prototype. The material used is a higher GSM paper rather than newspaper as this proved to be too unstable at a large scale. The overall form is meant to be a large spherical shell that opens and closes. In a closed state, the shell is intended to be worn on the back like a backpack and carried around similar to how a snail carries its own shell on its back. When being used, the shell can be closed to create a safe, solid and enclosed space that effectively shuts the wearer from the outside world.

Above - Final Prototype

MODULE THREE FABRICATION

14 FABRICATION

DIGITAL FABRICATION + TECHNIQUES

ARCHITECTURE IN THE DIGITAL AGE

DIGITAL FABRICATION

Above - Guggenheim Museum Bilbao (Arch Daily 2013).

Above - Digital Fabrication Being used to aid Assembly.

Digital fabrication processes are very much about the translation of traditional handmade processes into a set of readable and simplified digital coordinates that can mean easier fabrication through automation.

Much like as was described in ‘Architecture in the Digital Age’, ‘Digital Fabrication’

by Lisa Iwamoto (2009) discusses the shift of traditional manufacturing methods to ones aided by more digital processes.

Two dimension fabrication can involve a laser cutter or card cutter for example and creates precise flat piece assemblies that create a volumed form after assembly. It is especially useful for creating the same piece repetitively on a mass scale.

Although the shift to this has led to more efficient and precise production of designs, the problem lies within more crafted processes inherent in panel and fold. The fabrication methods outlined do not account for physical processes such as folding and creasing, creating a roadblock in how one approaches fabricating with this material system in mind.

Subtractive fabrication involves tools like a CNC milling machine which progressively removes material from a single block, producing a more detailed object from it. This is ideal for creating multiple customized parts on a large scale.

Additive fabrication, as the name suggests, involves adding progressively to an object to create a volumed form. An example for this is a 3D printer which works as an opposite alternative to a CNC milling machine.

With the paper membrane, short of additive fabrication which is slow and costly, only the lower levels of fabrication such as cutting the base panels and adding score lines to them can be achieved, with much of the later processes still relying on a crafted process.

FABRICATION 13 .

FURTHER PRECEDENTS

SCORPION FISH

MIMOSA PUDICA

Above - Mimosa Pudica Idle State (Vincentz 2008).

Above - Scorpion Fish (Best Recipes Collection 2013).

Our design precedents for second skin were previously based on the idea of a snail’s shell and precedents prevalent in fashion. However, based on the feedback we received from the previous module, it was clear that expanding beyond the form of a sphere is essential. Hence, further possibilities in researching other precedents was looked into.

Further inspiration was taken from the plant ‘Mimosa Pudica’ or also known colloquially as the Sensitive Plant due to how it will close its leaves if physical contact is made with it. This brings us to the idea that the shell should change with the context of the situation - expand when threatened and static when neutral. The shell is intended to give a direct reaction when an event is occurring and as it is needed.

The first additional source of inspiration came from the Scorpion fish and how it protects itself from harm by its spines. A point of intrigue with this fish is how it raises the notion of a second skin as protection. However compared to a snail’s shall this only functions merely as a protector, rather than also a creator of personal space.

14 FABRICATION

FURTHER PROTOTYPING

ATTEMPT ONE

ATTEMPT TWO

ATTEMPT THREE

Above - Welded Plastic Inflatable (Forrester 2013).

Above -Stitched and Welded Plastic Inflatable (Forrester 2013)

Above - Welded Heavy Plastic Inflatable (Forrester 2013)

Expanding on the knowledge gain from further precedents and feedback, it was decided that incorporating an inflatable system in the second skin would add a dynamic aspect to the design.

The second attempt involved combining a stitching and welding process that created a double layer protection from leaks.

The innermost row used welding as it proved to be weaker than stitching, but was more airtight.

The third prototype was to test the effect of using a denser, more rigid material such as polyurethane.

The parts were joined together using a welding process with the assumption that it would be resilient enough to maintain its form.

This process proved to be the most resilient of the three prototypes in terms of holding air pressure.

However, it was the most tedious and time consuming process out of the three.

Using a thicker material combined with a welded joint system did not create any realistic gains and ended up being a failure. Another aspect that was reconsidered in the end was the shape, wherein pillow-shaped forms were chosen instead to simplify the assembly process and increase the system’s resilience as well,

The first attempt involved welding together multiple sheets of thing tablecloth plastic together to create a sphere. Unfortunately this proved to be too fragile for the total volume of air it needed to contain.

FABRICATION 15 .

STEP ONE

STEP TWO

STEP THREE

To make a module, three circles are cut and scored into eighths,

Each of them are folded to create a four point star shape as shown

The pieces are then joined together at the face on to create a triangular arrangement to create one module.

16 FABRICATION

STEP ONE

STEP TWO

STEP THREE

Using 200 GSM ivory card, construct the first three rings of the membrane using the modules, giving time for the adhesive joints to settle.

The next four rings of the membrane consist of 170 GSM paper and are constructed using the same method.

The membrane was turned over to allow ease of construction as shown here. This also prevents the joints from breaking during the curing process.

STEP FOUR

STEP FIVE

STEP SIX

The last two rings are composed of 100 GSM paper to reduce the weight and provide flexibility.

After the curing process for the adhesive is complete, the membrane was flipped over in preparation for wearing.

The underlying layer of the second skin uses an inflatable system that lifts up the membrane and consists of a chain of inflatable structures.

FABRICATION 17 .

18 FABRICATION

END RESULT The final design of the second skin involved using an inflatable system underneath that raises the panel and fold membrane structure. The membrane changes form as a result, creating a zone of personal space around the user. The membrane has been redesigned to be worn like a poncho to better exaggerate the curvature of the membrane.

MODULE FOUR REFLECTION

20 REFLECTION

“DESIGN IS AN INFINITE PROCESS, “CHANGE IS ITS ONLY CONSTANT.”

REFLECTION 21 .

ONE IDEATION Module One served as an exploration into how one can meaningfully analyze an object and deconstruct it to its most basic elements. A monotonous approach to this yields few or no results, whereas a multidisciplinary process can lead to a greater understanding of an object.

A two dimensional analysis translates the physical object into static data that measures the volume and the space it occupies. This is particularly helpful when multiple views are recreated to build a set of orthographic drawings.

However, this method of making observations lacks the capabilities to observe the material qualities as well as the dynamic qualities of a paper filter.

To augment this two methods of three dimensional analysis was taken. Firstly, photographs were taken of the paper filter being manipulated to observe how the paper filter changes as it is used. Secondly, recreating the object through both virtual and physical model making allows us to understand the peculiarities of a material systems and the mechanisms that hold a design together.

By combining all these methodologies together, we create a more holistic set of analytical data that drive inspiration in designing a second skin that draws from the material and visual qualities derived from the paper filter.

22 REFLECTION

TWO DESIGN

THREE FABRICATION

In designing a second skin based on the materials system of panel and fold, the aspect of materiality and designing in context was an essential consideration.

When it came to fabricating a digital design, difficulty came with putting theory into practice. The reality was that the panel and fold system employed to create the membrane did not scale into a larger size efficiently both in terms of assembly and function.

Consequently, multiple revisions had to be made to achieve a functional model. The failure to produce a working model on first trial can be attributed to the aforementioned over reliance on digital fabrication to prototype, therefore denying the understanding of the material utilized required.

Thomas Heatherwick’s approach to design served as a reminder that design is not created in a vacuum, but rather needs to take consideration of the context, how form should not fight with function, instead that a good design makes form part of the function. Another concept that he raised was how design is not just the look and feel of a product, but also about an experience - the emotional attachment a product creates with the consumer.

With this in mind, creating a second skin with an evocative design required cyclic reiteration to reach a point where a meaningful design was achieved. CAD aided in compressing this time consuming process but with it came another danger illustrated in Marble’s ‘Imagining Risk’, the death of craftsmanship.

Although the use of digital fabrication is helpful in rapid prototyping, one loses the experience and insight into a material’s quality found only in handcrafting a product. When prototyping it was found that mass production and accuracy played second fiddle to understanding the peculiarities inherent in panel and fold.

As a result of these considerations, a design that used a membrane as a not only an aesthetically appealing veneer, but also as a functional element to what we define as personal space.

From Rifkin’s ‘Distributed Capitalism’ and the culmination of ten weeks’ worth of work, a conclusion on the value and place of digital technology can be made.

Digital technology is an integral part of contemporary society, with consumer acceptance and market penetration of products based on such increasing rapidly. However at the same time, one has to be wary of a completely digital approach to the world, as both digital and analogue have their respective qualities that provide a net benefit.

Finding a balance between the two is essential in designing a product that satisfies the consumer. This lesson was taken seriously during the fabrication of the second skin as neither taking a completely digital or completely analogue approach proved to be effective. A completely digital approach possesses consistency and efficiency that is greatly desired by consumers and produces alike, but lacks the humanistic qualities offered by analogue processes that made a product feel profound and individual.

BIBLIOGRAPHY AND REFERENCES

24 BIBLIOGRAPHY

BIBLIOGRAPHY + REFERENCES Arch Daily. 2013. The Guggenheim Museum Bilbao. Image. Accessed October 9 2013. http://ad009cdnb.archdaily.net/wp-content/uploads/ 2013/08/521fa052e8e44eb94a000034_ad-classics-the-guggenheim-museum-bilbao-frank-gehry_flickr_user_rong8888-528x352.jpg Hall, Edward T. 1966. The Hidden Dimension. 1st Ed. N.P. Doubleday.

Heath, A, Heath, D & Jensen, A. 2000. 300 Years of Industrial Design : Function, Form, Technique. 1700-2000 Watson-Guptill. New York. Selected Extracts.

Heatherwick, T. 2011. Thomas Heatherwick : Building the Seed Cathedral. Video. Accessed August 27 2013. http://www.ted.com/talks/thomas_heatherwick.html H.Pottmann, A.Asperl, M.Hofer, A.Kilian (eds). 2007. Surfaces that can be Built from Paper. Architectural Geometry. Bentley Institute Press. pp 534-561.

Hrustic. Amile. 2010. Platonic Geometry. Image. Accessed August 27 2013. http://www.likecool.com/Style/Design/Wearable%20geometry/Wearable-geometry.jpg Iwamoto, L. 2009. Digital Fabrications : Architectural and Material Techniques. Princeton Architectural Press. New York. Selected Extracts.

Kolarevic, B. 2003. Digital Production in Architecture in the Digital Age - Design and Manufacturing. Spon Press. London. pp30-54.

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.

Miralles, E, Pinos, C. N.D. How to lay out a croissant. El Croquis. 49/50. pp. 240-241.

Porce. 2007. Mimosa Pudica. Image. Accessed October 9 2013. http://upload.wikimedia.org/wikipedia/commons/9/92/Mimosa-pudica-post.jpg Rifkin, J. 2011. Distributed Capitalism in The third Industrial Revolution. Palgrave Macmillan. New York. pp107-126.

Scheurer, F. Stehling, H. 2011. Lost in Parameter Space? AD: Architectural Design. Vol 81. pp. 70-79 Shigeru, Ban. 2010. Haesley Nine Bridges Golf Clubhouse. Image. Accessed August 27 2013. http://2.bp.blogspot.com/-WmCij8urTaU/UGmUaLN9ZtI/AAAAAAAAJ1A/ ybQAaob_M9c/s1600/Haesley+nine+bridges+golf+clubhouse+by+Shigeru+Ban09.jpg Siemens. 2013. Light Has an Impact on Human Well-Being. Accessed August 27 2013. http://www.healthcare.siemens.com/accessories-oem-equipment/lighting-solutions/ lighting-psychology/light Sommer, R 1969. Spatial Invasion in Sommer, R, Personal Space : The Behavioral Basis of Design. Prentice-Hall. Englewood Cliffs. N.J. pp. 26-38.

Tasty Dishes. N.D. Untitled. Image. Accessed October 9 2013. http://tasty-dishes.com/data_images/encyclopedia/scorpion-fish/scorpion-fish-02.jpg Veasyble. 2010. Untitled. Image. Accessed August 20 2013. http://www.veasyble.com/IMM/Imm20.gif Xia, Charlie. 2010. UK Pavilion. Image. Accessed August 27 2013. http://www.flickr.com/photos/49747573@N05/4585150911/

CREDITS REFERENCES FOR IMAGES

26 CREDITS

CREDITS FOR IMAGES

WEARABLE GEOMETRY

ORIGAMI FASHION

UK PAVILION

Hrustic. Amile. 2010. Platonic Geometry. Image.

Accessed August 27 2013. http://www.likecool.com/ Style/Design/Wearable%20geometry/Wearablegeometry.jpg

Veasyble. 2010. Untitled. Image. Accessed August 20 2013. http://www.veasyble.com/IMM/Imm20.gif

Xia, Charlie. 2010. UK Pavilion. Image. Accessed August 27 2013. http://www.flickr.com/photos/ 49747573@N05/4585150911/

HAESLEY NINE BRIDGES‌

DIGITAL PROTOTYPE

BILBAO MUSEUM

Shigeru, Ban. 2010. Haesley Nine Bridges Golf Clubhouse. Image.

Accessed August 27 2013. http://2.bp.blogspot.com/-WmCij8urTaU/ UGmUaLN9ZtI/AAAAAAAAJ1A/ ybQAaob_M9c/s1600/Haesley+nine +bridges+golf+clubhouse+by+Shigeru+Ban09.jpg

Antonia, J. and Forrester, D. 2013. Digital Prototype.

Image.

Arch Daily. 2013. The Guggenheim Museum Bilbao. Image.

Accessed October 9 2013. http://ad009cdnb.archdaily.net/wpcontent/uploads/ 2013/08/521fa052e8e44eb94a000034_ad-classicsthe-guggenheim-museum-bilbao-frankgehry_flickr_user_rong8888-528x352.jpg

CREDITS 27 .

SCORPION FISH

MIMOSA PUDICA

INFLATABLE ATTEMPT ONE

Tasty Dishes. N.D. Untitled. Image. Accessed October 9 2013. http://tasty-dishes.com/data_images/ encyclopedia/scorpion-fish/scorpion-fish-02.jpg

Porce. 2007. Mimosa Pudica. Image. Accessed October 9 2013. http://upload.wikimedia.org/ wikipedia/commons/9/92/Mimosa-pudica-post.jpg

Forrester, D. 2013. Inflatable Attempt One. Image.

INFLATABLE ATTEMPT TWO

INFLATABLE ATTEMPT TH‌

Forrester, D. 2013. Inflatable Attempt Two. Image.

Forrester, D. 2013. Inflatable Attempt Three.

Image.

28 CREDITS