DDF: Module 4 Reflections

DIGITAL DESIGN + FABRICATION SM1, 2017 LIGHT COCOON Nurul Syahirah Muhamad

779893 Matthew Greenwood + 4F

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CONTENTS INTRODUCTION

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IDEATION

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DESIGN

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FABRICATION

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REFLECTION

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APPENDIX

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INTRODUCTION 0.0 Introduction

Layout: Keep layout simple with rooms for images Digital design and fabrication are like a craftsmanship that or text to ‘breath’.

Avoid fancy graphic shading, connecting the abstraction and construction in a distinct overlay, underlaying of images, all images can be colour (CMYK) orA B&W (noof fancy photoshop filter of shapes, patterns, methodology. world endless possibility please).

No Border around images please. materials, technique and tools are presented in a sophisticated

network system. The life of a human, the movement of industries Font Size: Keep font size consistant throughout book evolves -and do athe testdesigner print to make sure to its become not too bigbetter or too as time goes by. small _ generally a 10pt to 11pt is okay for body text, 12 or 14 pt for title. Choose a font that is easy to read and readily available, example Arial. No Hyphenation to paragraph pls.

Spell check your document.

Happy Journal making!

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IDEATION Panel and Folding

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OBJECT MEASUREMENTS This expandable pocket file is used to keep papers and documents. The hardcover plastic case protects it from liquids or blown away by the wind.

PLAN 100mm

80mm

330mm

195mm

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50mm

235mm

30mm

235mm

Ruler, scale ruler and a scanner are used to measure the dimensions of the file holder.

250mm

60o

30mm

ELEVATION

SECTION

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OBJECT ANALYSIS COMPONENTS

PLASTIC SHEET The user can closed the file by putting the elastic rope oround the button on the file.

A continuous three part hardcover, waterproof plastic case.

The partitions inside of the file is made up from translucent plastics.

Two folded sheet at each side.

At both sides of the plastic (shaded area) are connected to a folded plane.

Most probably it is connected by heat.

Twelves seperate plastic sheets; sandwiched in between the case.

The dimension of plastic sheet is a bit bigger than an A4 paper. This is so that the file will not buckle when it is full with paper.

The tab makes it is easier to flip through the partitions.

FOLDING

The shorter length on the bottom of the file holds the file rigid and not flimsy.

The plastics sheets are connected to a zig-zag folded plastic sheet to create partitions. This folded sheet also enable the user to expand the file.

220mm

330mm

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The corrugated texture at the folded file allow the opening and closing of file.

The elevation showing movements of folded sheet which similar to a spring.

ELEVATION 1 File is closed

ELEVATION 2 File is open halfway

The cover can rotate up to 230o from it’s closed state.

ELEVATION 3 File is open to the maximum

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DIGITAL MODELLING Design development intro: 100 words that outline what aspect of your phase 1 proposal is taken forward at this stage?

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THE CASE 1. The first component made is a planar surface of the case.

2. The curve edges are made and loft is used to make the surface.

3. The case is rotated to create the folded plane of the file cover.

5. Rotate 3D is used to create multiple partitions of plastic sheets.

6. Additional points, lines and circles are used to arrange the exact position of each sheet.

7. The first attempt to make the folded sheet is failed.

8. Creating the folded sheet is the most tedious job as the angle of each zig-zag is different.

9. The folded sheet is attached to the case and mirror is used to create the second folded sheet.

10. Holes for putting rope is made using boolean difference.

THE FOLDED SHEET

THE PLASTIC SHEETS

THE DETAILS

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VOLUME ISOCOHEDRON is made up from 20 triangles. These triangular planes are rotated at different axis to create a solid. However, exploring the shapes of the isocohedron opens up more perspective.

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1. Two sizes of isocohedron are printed, to experiment with various dimension.

2. The paper is folded on the line.

3. Instead if creating a solid, the cut out is folded to create surfaces.

4. This is the first isocohedron surface. Randomly folded on the line.

5. More folded surfaces are made.

The possibility of the final outcome is endless. For future reference, us consistency in folding step.

6. This image shows a hollow cylinder shape attached to a randomly folded planes.

7. Holes are made to test the structural integrity of isocohedron.

8. A isocohedron solid is formed to understand the possibilities of using solid rather than planes.

9. The unwanted result from a smaller isocohedron. As a reminder, use a thicker card when necessary..

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SKETCH DESIGN EXPLODING PANELS Each panels are streched outward to fill the personal space around the neck and shoulder as it is where my personal space has the biggest area. The panels can be shaped into straight rigid panels or arranged to create a folded effect similat to folded sheets of the expandable file.

When strips of panel are used, the final object looks spiky and airy. If the panels are forming a hollow solid, the object will look dense and heavy.

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FLOATING POLYGONS Various sizes of shapes to create a polygon.

Most probably a 20 sided polygon because the hexagon and pentagon shapes that created is interesting. The floating shapes to fill the personal space around the head acts as a barrier between the person and the surrounding.

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SKETCH DESIGN BENDING ZIG-ZAG This design is taken from the folded sheet, thus it is more resemble the file. The general fan-shape is to vary the sizes of panels. Although this design uses less volume of the personal space, the zig zag panels can be curved further outward. This will create a simpler object to fill in the personal space compared to the other two designs.

It can be hollow, or it can be a solid panel.

Either thin lines or thicker panels can be created.

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REFLECTION Observation is a part of creating and designing objects (Heath, Heath & Jensen, 2000). This module taught me how to be attentive to the form, function and technique used in the panel and folding system. The expandable file that I measured explains the dimension of the object that illustrates how people uses the object.

Multiple photographs taken allow me to freeze the movement of the file, and a series of photos shows how the file moves. As for the materiality of the file, it suggests the technique and method on the assemblage of panels. Some panels are heated to create a fixed joint and some parts are pressed to create make lines for folding.

By exploring the possibility of volumes created by panel and folding, I noticed that there are four criteria that influence the successfulness of a material system. The criteria are the thickness of material, the area of a flat surface, the length of edges that are folded and the continuity of panels. Therefore, I tried to design a volume to occupy my personal space with consideration to the nature of panel and folding system.

Consequently, my sketch designs are not yet developed as I am in the early stage of design process.

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DESIGN Nurul Muhamad, Yuting Yang, Joo Liew (779893, 813151, 831400)

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INTRODUCTION A variety of sketches exploring potential concepts, defining range of personal space and taking into account individual distances.

An upper body part range was decided upon, defining importance of instinctive space among the majority Extrusion and intrusion of panels which have ability to fold were analyzed in further detail at this stage, including experimentation with oversheltering and lack thereof, and in addition, investigating natural shell mechanisms found in some types of fauna as used as passive protective schemes.

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PERSONAL SPACE The model is intended to provide approximately 1 feet of personal space for the wearer and more, depending on the positioning of the model worn by the wearer. The personal space is concentrated behind of the user and some area in the front. Nevertheless, the user still can speak see and move their arms.

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Refined Sketch Model A multiple sketch ideas done using crazy nine method, in attempt to mix all of our ideas together.

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Initiated with a cocoon/husk-like concept, but is later brought to concern it forms as a ‘jacket’, towards the clothing aspect and less abstract in form, thus this needed more investigation and analysis.

More trials with other features of personal space incorporated and some removed, to be able to conform to the perspective of what kind of space mainly extroverts needed.

In the next form, twisting and folding become more prevalent, as to cater for a wider range of users, intro and extroverts, including taking into consideration the users’ physical builds particularly of the upper body.

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DESIGN PROPOSAL 1 Model derived from a range of ideas, in particular suiting the needs of an extroverted wearer of small physical build. The current concept visualizes how the form is able to twist around the upper body, minimizing individual distance yet allowing for sufficient personal space. The frontal extrusion portrays the idea of an occasional defense mechanism to be used sparingly. The model has the ability to move according to the user’s needs; to provide cover when they prefer, and also increase exposure by the user’s will.

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Diagrams of possible situation when wearing the second skin.

Sketch of personal space mapping (Fragments show concentration of personal space) for an introvert of small build in a scenario of a crowded area she does not want to be involved in willingly (eg crowded train ride).

Sketch of a similar map style, this time an extravert woman of medium build who willingly engages herself in conversations and delightful events (eg festivals).

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DESIGN PROPOSAL 2 Model formed from the inteferance of personal space and attempt on finding the best enclosure for our second skin. We contraint the space up to 450mm from the user. For this proposed design, we open up the front and cover the back of the head because we assume that this second skin is for people who feel uncomfortable from the sides that they cannot see. The model is used outdoor, thus the design enclose the space above head so to protect user from extreme wheather.

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Rough sketches to show the possibilites wof where to block the view of the user with the surroundings. The larger coverage is where the user did not what other people to see. Mainly on the back and the sides.

Covering the backside of user but we eliminated it because it does not included with our personal space.

However, more development of proposed design are explored after learning panellinng tools in the third Workshop

A close up to the textures inside the second skin. Triangulated planars to create uneven surfaces similar to a shell

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PRECEDENT PUPPET THEATER

by Pierre Huyghe • •

A temporary pavillion Built with polycarbonate panels.

Panels under light penetration, creates suspension.

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Consists of triangle which allows more surface curvature

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Interlocking forms a rigid shape. Panels are bolted together as a uniform system.

It works as an egg - forces dissipate across the whole surface.

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Ceiling panels flipped over to create skylights Work as keystones on an arch for structural stability.

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Foam inserted into the panels to stiffen the shell.

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Twisting panels to form a space Inside of Puppet Theater: all panels work as a whole.

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Ceiling of Puppet Theatre: some panels are fliiped over as keystones.

PUPPET THEATER , MOS Architect, 2004

KEYWORDS: Trianglulation Intergration Penetration Modulating Interlayer

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Singular to multiple elements (variations produced when combined at different angles).

Modulating some pieces to add stability to the structure.

If light can come through splayed surface, it creats a ray effect. Light is important in assisting with optimal sight in people.

Using triangules to increase curvature.

CuRvature formed by manipulating the pattern to create internal volume at back.

Space for insertion of different material (planar; could be transparent). Creates visual space for wearer, allowing “room to breath�.

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DESIGN DEVELOPMENT An outer shell or exposed husk that creates spatial volume sufficient for introverted space. It is able to shield the wearer from unseen contact and allow them to convey their necessary personal space, similar to a iguana’s defense mechanism.

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By exploring methods to create a more wearable form and prevention of infliction of pain upon the werer, the model is subjected to a more ergonomic change, followed by smaller panelling with different pattens for curvature.

Planar (flat) surfaces combined to create a spatial form and maximise internal volume for the introvert wearer’s space. The diamond effect is organised and visually systematic.

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Progressing from shell-like figure to a more crystallised form; creating rough jagged structures at the bottom to defend against others and prevent inflicting pain on self, respectively. It is more ergonomic in this instance.

The jagged texture formed is close to our intended sketch design 2. However, a problem occured during the process where there is a hole forming on the back of the second skin.

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A variation. Extraction of a minor aspect from design development 1. Lofting + ptPanelGrid (TriBasic) forms the planar triangular shapes to create a case-like structure.

Rounded form developed further from (1). Circular formation by addition of more planar surfaces.

With regard to (2) and the precedent, this is enhanced further. It is done in order to create a net casing structure and enclose the wearer from their surroundings thus imbuing comfort in the personal space of the wearer.

Attempt to develop a combination of rough, jagged upper edges with a smoother, rounded surface at the bottom. This portrays defensive mechanism in a slightly more aggressive way to outsiders yet at least holds physical comfort to the wearer.

COMBINATION The combination of an aggressively-shaped cylindrical form in symbiosis with the smooth husk form from version 1. As a result this creates a more intimadating perspective but this is evened by the presence of the smooth form. For the introverted wearer, this can portray a seemingly mild nature albeit with the want for more secure protection from outsiders.

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EXTRUSION Sketches regarding the above formations and how the rib extrusion may come into play with diversity of connections, to serve as a mediator between the developed form and the wearer, as in, it acts as a combined entity with the second skin and despite its mild presence, it is not to be belittled by the other form’s blaring composition.

The introverted wearer is able to feel as though they are being ‘consoled’ due to the mediator.

Rib extrusion; a further developed variation of the initial extrusion connection. Supposed to be able to hold the developed case forms to the wearer.

Depending on preferences, it is able to connect to the wearer’s body via the upper arm, shoulders, neck or around the chest.

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SENSES AND EFFECTS

We explore different types of senses and effect that are possible for the weare. Begginning with sight, to smell, to texture and sound. We also attempt to create emotion foor added value to our second skin.

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CRAFT PROTOTYPE

TEXTURE Possible gloss finish for a temporary blinding effect while some aspects may include matte texture finish to diffuse light permanently depending on the environment.

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TRANSPARENCY Introvert may prefer solitude, but need light to do her work. Allow privacy in crowded space. Possible materials may consist of polypropene, acetate/perspex.

TOUCH Physical comfort via fabric infill. Internal space is more defined, creating volume for the wearer. It is also ergonomic and reduces injury to the wearer, if any. In situational context, this second skin is designed to be almost form-fitting with regard to internal spatial volume yet prevent discomfort from the wearer themself.

SCENTED The introverted wearer is provided with a temporarily created space for them to express their own imagination. Based on their preferences, the scent can be changed as it is absorbed into the fabric. This is a similar situation to having incense sticks or scented candles alit in a small cottage. In situational context, the wearer may be reading a book outdoors in a quiet place and their chosen scent enables them to enhance their imaginations further.

PROITECT Investigation of developed upper jagged form, to work in mutualism with a smoother lower-end form as shown in the Development 2. Creates a more passive-aggressive effect when used in conjunction with the other, allowing the introvert wearer to increase protection if needed.

AUDITORY Bells, soothing sound. Keep her awake haha while doing monotonous work.

Crackling of materials used can create a stranger sound effect that may ward off unwanted company of strangers.

Materials used are paper, bells and mostly tissue to provide this effect.

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REFLECTION To explore an individual’s personal space, the most feasible method is by approaching them and observe their reaction (Sommer, 1969). Little do we know that most of us feel uncomfortable when someone is approaching us from the back.

We tested and agreed that not knowing what is behind your head is scary because you cannot see what is it. This subject taught me about how to make a design that responds to the user’s need and wants.

The material systems that we learned on this subject are the starting point for us to list down possible materials when designing. Different material has different characteristics and construction methods. Hence, I learn to analyse material properties with how it is made from the precedents and suggestions from more experienced people.

Early in the process, we have a hard time to find a way to integrate our designs. This is because we ambiguously determine our personal space and the function of our intended design. According to Scheuer and Stehling (2011), abstractions is mean to develop a design that suits all components starting with the most unrefined idea. Based on the reading, abstraction is good for idea diversion and we use a lot of ‘try and error’ method

used in rhinoceros with the panelling tools. A critical mistake done was we did not think of the materiality and constructability of our second skin during digital modelling.

Furthermore, we did not fully take advantage of our precedent in the design development. We mostly we look at the overall form, strips, chunks and individual panels of the puppet theatre that create a curved shape. We look at how each panel are connected together but we did not take not how it was constructed. We notice that it is a double layer building but, we did not think of applying the concept from the precedent into our design, until later during fabrication module.

As for the senses, there are too many ideas, but none is elaborated. I suggest that the problem originated from the undecided function of our second skin. The models that we made are addressing the senses rather than the form itself.

By the time we settle with the form, we missed the chance to resubmit our laser cut template to the fab lab. Supposedly, we will finalise the form earlier in the module so that we have ample time to remake the physical model.

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FABRICATION 3.0 FABRICATION

Nurul Muhamad, Yuting Yang, Joo Liew (779893, 813151, 831400)

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INTRODUCTION It was reviewed the concept needed to explore a broader spatial volume. The necessity for it covered aspects of introverted personal space and individual distance with minor regard. The concept was considered vaguely 2-dimensional.

In M3 we solved for alternatives and revamped the previous version through refinement and functionality of the current concept.

Follow-up before the 1:1 physical model)

An approximate radii of 1 feet from the head was still taken into account throughout refinement, as well as focusing on sight senses; in which cut off the influence coming from back and two sides allowing the focus on the front.

Final design from module 2.

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DESIGN DEVELOPMENT • Smaller units combine to form a major component.

• Here beginning connection tests are constructed.

• Currently at early triangulated panel stage.

• More consideration into how the overall form would fulfill wearer’s personal space condition was required.

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DESIGN DEVELOPMENT AND PROTOTYPE 1 • 1:1 prototype made via origami paper and combined triangle panel sections.

• Discovered there is large potential for playing with distraction of outsiders’ sight and also the flexible formation of folding and panelling.

• Placement on the body actually signified spatial volume as a more primary concern.

• This prototype comes before the further developed digital prototype.

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HEXAGON

FEEDBACK Other material needed to be used. Etching and labelling required to prevent confusion, including tabs. Key moments needed to be taken into account, as in the activity of the wearer and what circumstances they may experience.

HEXAGON AS THE BASIC SHAPE •

Hexagon is the closet shape to a circle that can still form a grid while suffers less from orientation bias. Compared with a square grid, hexagon suffer less distortion due to curvature (re main the pattern).

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Honeycombs shape gives better aesthetic quality and make the inside space more cozy, like a residence.

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READING RESPOND WEEK 6 ARCHITECTURE IN THE DIGITAL AGE: DESIGN + MANUFACTURING Branko Kolarevic, 2003

Links between conception and production: In which projects are able to be realized both digitally and in the physical world. The various fabrication processes include: • 3D Scanning: Digitally modelling and then translating the virtual model to a physically real model via machinery. A pattern of points is formed via the scanning of a physical model and can be done manually using 3D digitizing arms.

• Laser scanning also allows accurate models of existing objects to be made.

• 2D fabrication (CNC cutting): Includes laser cutting and highly pressurized water-jet cutting. High intensity technique.

• Computer-Aided Manufacture: To form a digital model via models and without representational drawings.

• Subtractive fabrication: Refers to removing a volume of material via electrical/chemical/ mechanical-reductive process.

• Additive Fabrication: Layering material to form a 3D system. Information of each layer is transferred to the processing hand of the manufacturing machine.

• Formative fabrication: Applying heat to the material so it can deform, including alteration of elastic material and steel/wood-based material.

How we have applied a fabrication process in our design: • Assemblage: Done via organization of information of location of each component of the model, 3D-wise. The wireframe was initially extracted.

• Surface strategy: Developed Nurb surfaces to create a structural skin that can act independently as a static system.

Images form the reading

• We then proceeded to 3D fabrication using 2D methods before manually making connections. Contouring/triangulation of mesh and polygonal tesselation was taken into consideration for surfaces, and then unfolded into labelled panel strips of each minor component (before forming the major component) on a sheet of 2D material (Ivory card at 290 gsm). Nesting was done and then proceeded to use CNC cutting (laser cutting machinery)

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Later the single panel unit combined to morph into form with more 3D volume thus influencing our design.

Formulated an ‘unwrapping’ sequence regarding panelling first and then visualising how to fold. Subtractive removal of components required to make a unit to fulfill wearer’ conditions and enhance sight.

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Further enhanced the developed surface by taking into account personal space and individual specific activity.

Effects on second skin project based on fabrication processes and strategies: •

Software development using Rhinoceros.

Subtractive and additive methods were combined to create current form.

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Initial 2D flat form created via loft command.

Personal space distance radius and diameter taken into consideration.

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Panelling Tools in Rhinoceros was used, particularly ptPanelGridCustom(variable) command; in order to create shape variations and a shell-like net form. Dynamics created via altering points along the curve andextrusions.

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Prototyping then used laser cutting (3.5 axis) was most efficient in forming the template for the 2D sheets for 3D assembly.

READING RESPOND WEEK 7 DIGITAL FABRICATIONS: ARCHITECTURAL + MATERIAL TECHNIQUES Lisa Iwamoto, 2009

Considering the evolution of sketches to modelling in 3D virtuality: Digital fabrication and material techniques form a collaboration between the virtual and physical models. Recently digital technologies have becomes more pronounced and have more potential than traditional processes to lessen discrepancies between representation and building fabrication. The production of computers allow sculpting and coding modulation systems to enable to create 3D models and visualization.

Computer-aided design (CAD) software allow for 3D models to e made and scaled beforehand producing accurate results when 3D printing.

Computers serve a direct facilitation from digital construction to proper fabrication. Other machinery such as laser cutters, CNC cutters, 3D printers etc assists with this. Due to the recent shift, the traditional builder is now replaced with a ‘machine’.

Such components enable us to create a literal material process and panel and folding allow for stiffness and rigidity but at the same time, flexibility of overall structure. 3D modeling has enabled the design to turn into a structural form via continuous process of deformation and inflection.

Images from the reading

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Referencing from the lectures and readings, what is the implication of digital fabrication on your design ?

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Material also taken into consideration; the feeble nature of thinner canvas paper, moderately effective and lightweight ivory card, and a white card at greater thickness for defensive nature.

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Ivory card was chosen as it was the most flexible and could withstand sufficient force.

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Lighting effect also taken into consideration with the defensive structure, allowing it to appear more ambient and peaceful to the user compared to outsiders.

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Digital fabrication allowed for flexibility in the design and more efficient changes as compared to using traditional manual methods of construction.

Small light test on ambience.

Ivory Card 290gsm

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The idea of putting light into the structure.

INSPIRATION CATALYST HEXSHELL Matsys, 2012 • A thin shell structure • Use Grasshopper tools • The potential of creating a flat surface with hexagon units.

• Adding holes to allow lights coming in.

• Tabs to put the individual units together

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DESIGN DEVELOPMENT AND PROTOTYPE 3

Prototype has larger holes on the bottom panels, leading to unsupported structure for upper loads. Bottom support around shoulders were rigid enough, however, so this feature is maintained.

Prototype was not rigid enough around the sides so an alternative was needed. However it id successfully sit on the shoulders with sufficient stability.

Initially, the prototype is most suited to these conditions for use: introverted female, reading/drawing outdoors ambient lighting needed for her to do these activities with ease and being relatively difficult for outsiders to see the user’s head essentially ‘hiding’ her from the ‘outside’.

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DIGITAL MODELLING PROCESS

• PT GRID SURFACE DOMAIN VARIABLE. point attractor to varied the panelling grid.

• PT OFFSET POINT. 30mm - 50mm. point

attractor to varies the depth of each unit.

• PT PANEL 3D CUSTOM . hexagon solid shape.

• For the holes of each individual hexagon, we use PT GRID CUSTOM VARIABLE. Shape Hexagon. Point attractors to varies the hole size (0.2 - 0.8 size range).

TOP

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FRONT

SIDE

PROTOTYPE FABRICATION LASER CUTTING After model was created in Rhino, individual components were grouped, exploded into several parts and then Unrollsrf command was used. On the laser cut template, each component was labelled at the side (although tabs were not included at first) and then rotated onto the template sheet to reduce material wastage as much as possible whilst keeping the project organised. This was sent to the laser cutter, printed and cut with etches where necessary.

Figuring out how to start labelling each of the individual units so that there is no confusion later.

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MATERIAL SELECTION Mount board was experimented on; considered too thick and heavy for wearer. Ivory card (290 gsm) was sufficient enough to fulfill personal space conditions.

Mount board samples

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Ivory card 290gsm of good stability.

PROTOTYPE OPTIMISATION CONNECTION

• Glue two pieces together edge by edge without tabs which weaken the stability.

• Join units together, by using clip for temperary connection and glue for permenant connection.

PROBLEM

• Surface flipped to other direction. Reverse the number and positions of each unit.

• With the final second skin: similar problem

and more complicated as some units has surfaces facing outward and some inward.

Inconsistent structure.

FEEDBACK

Join each unit edge along edge.

Glue connection.

Clip.

Join layer by layer.

• Does not show the spatial volume, hence second skin look planar and flat.

• Bigger holes at the lower part makes the prototype flimsy.

CHANGES TO FINAL SECOND SKIN INCLUDING

• Arrangement of hexagons from grid like structure to honeycombed structure.

• Change the direction the holes. From bigger

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at the bottom part to the upper part: plus lighting effect. Personal space--the girl reading; receive light onto her book.

Depth of the second skin. Prototype is too thin. Final model uses double surfaces to fill in the personal space and appears more bold as a side effect.

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• Fabrication optimisation regarding unrolling,

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including tabs and labelling. Surface structure underwent some alterations in order to fulfill internal spatial volume aspects.

Below shows the thought process taken into consideration to change specific components on the prototype.

PERSONAL SPACE REVISIT While designing the second skin. Personal space is revisited and changed to ensure the design development is following the outline of the personal space. The following is specific user and situation for the second skin:

• The design is for anyone who is insecure

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with the back of their head. He is sitting in a dark lecture room and want a source of light only for herself, so that, he can write notes without disturbing other people.

Hence, the form of second skin has larger form at the back and gives clear view to the front.

A light source is put in the front part for the user convinence.

PHYSICAL PROTOTYPE

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PROTOTYPE TEST Load comparison by reversing the way the model is worn. Found it is unable to self-support its load at a certain position.

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EFFECTS OPTIMISATION For this initial prototype took into account mostly the natural light aspect and multilayered light in order to realize the overall effect the form can produce.

In the plan view on the right, the accessibility to light for the wearer is sufficient enough, yet it serves as a ‘net’ structure; outsider views will be obstructed due to the systematic hexagonal pattern.

Light is also dispersed and more spread out within the structure.Here we examined the effect of natural light on the model and its reflective aspect.

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INSPIRATION As shown in the lecture, this project by students, completed in one week gives us idea on geometric rationalisation of our second skin.That is icreasing the volume of individual hexagon using the depth and triangulate the surface to get flat surface for better stability.

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DESIGN DEVELOPMENT OF SECOND SKIN • The depth of each unit is increased.

• Hexagons are interlocked with each other creating better structural system.

• The whole system is more solid and rigid.

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DIGITAL DEVELOPMENT DOUBLE SURFACES. The prototype is too thin hence we increase the depth of second skin to meet the project brief, which must have 3D volume.

PTGRID VARIABLE: CURVE ATTRACTOR. To varies the size of each hexagonal unit and create diagonal hexagon solid.

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21 POINTS FOR UV lines. Have tried with 15 to 25, but the best size and suitable with the depth of second skin is 21. The holes are not too small or too big. If it is too small, the hexagon pattern will not be seen and if the holes is too big, it is not have enough aesthetic look.

PTGRID MANAGE 3D : customise HEXAGON SOLID so that we can get a honeycomb structure.

Instead of using PT PANEL 3D CUSTOM as we did with the prototype, we use PTPANEL 3D with our own hexagon pattern.

The honeycomb structure has more structural stability because there is no holes in between each individual units. The honeycomb pattern also allow the additional depth of our second skin, which emphasis the dimension of our personal space.

The problem with prototype is, each surfaces of the individual units is curved in two ways, not a flat panel. To overcome this problem, we TRIANGULATE MESH to ‘polygonise’the surfaces, hence create a flat developable surfaces.

To create the holes, we tried to use PTPANELGRID with PT2D MANAGE with hexagons shapes. Hence varies the shape using point attractor.

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FRONT

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SIDE

BACK

TOP

BOTTOM

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FABRICATION

For each unit, the surfaces are joined together as one polysurface, and then unroll the polysurface.

Then each unit is labelled in accordance to layer.

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Layers are discrimated using colour coding

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Use “PTtabs“ to add tabs with recession.

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Make 2D.

Join six sides of the hexagon and offset in certain distance to get the hole inside.

The distance of offsetting is getting smaller from the bottom to the top.

As a result, the area of the hexagon is larger on the bottom which provide stronger support for the whole structure.

Arranging individual units in laser cutting template with labelling.

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Better assembling each unit with tabs. Tabs are glued outside where will be concealed when all units are joined together.

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Reflective (mylar) strips are put inside individual units to gives a water reflection illusion to the outside viewer.

Testing the suitable colour for finishing detail. We tried light colour (pearl white) and darker colour (silver gray)

Missing individual units, consequecing time lag in fabrication process.

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SECOND SKIN

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REFLECTION Additionally, the use of digital modelling assists in our design articulation of the dimension, size and volume of the final design. This is held true as digital technologies allow designers/craftsman to have control over their design by controlling the geometry (Kolarevic (2003). Panelling tools have influenced the final configuration of our second skin including the pattern of voids on each unit.

The fabrication process of the full-scale prototype enables us to test the structural consideration, material composition and geometric density. The effects evolved with digital modelling and heavily affected by the decorativeness and usefulness of our second skin.

We compensate the process that we missed from module 2 in module 3. We make a part of our digital model in 1:1 scale by folding 300gsm paper manually. In the process, we realised that using triangles in a bigger size is quite difficult because the prototype is easily bent and without depth to the design, the prototype cannot hold itself up. The problem emerged from our design can only be known from making prototype because we did not have the knowledge and skill (yet) to test the resistance of material digitally (Marble, 2008).

Inspired by the lecture, we change our frame of reference by morphing the triangles into hexagonal units. During our making process of the full-scale prototype, we did not expect that the double-curve surface will create tension between each individual units. The joints of the prototype are loose and very weak. The absence of tabs adds more problem to the structural integrity of the prototype.

Therefore, as mentioned by Iwamoto (2009), tessellation is used as a technique to solve double-curve surface. The reading and the suggestion from our tutor, to triangulate the NURBS surfaces play an important role on the optimisation of the form, material use and strengthen our design. For testing purpose, we use the ivory card because we tried to minimise monetary loss and only test a few units with mount board. At the end, we agreed to continue with the thinner material because of the additional thickness when the tabs are put together.

Supposedly by using rhinoceros, we can communicate precise information on the construction process (Marble, 2008). However, during the prototype fabrication, the whole structure is reversed because there is an error of the unrolling technique in rhino. We solved the problem manually because we cannot find any technique using panelling tools. Next, we make mistakes in the glueing process where the chunks that we made, cannot be put together. Later in final fabrication, we make sure that we are assembling in the correct way.

We also take into consideration of the aesthetic value of the final product carefully try to hide the tabs and spray the second skin as the finishing details. The mylar strips that we use comes with an adhesive that eases and fasten the process of making. As for the sight effect, simple wiring system installed to the second skin.

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REFLECTION Personally, the most valuable aspect that I learn is teamwork and leadership. Clear communication and backing each other’s back are what we do at every stage and in between phases. All small and big decisions are made after each of us get the information to make everyone know what is happening, what had changed and what other things that need to be done. There is job distribution so that we are efficient and not wasting time and energy. It is important to have a goal and by testing and learning, we approach to the final design. Joo and Stellar are responsible, participative and innovative in design development. The mistakes done earlier gave us valuable lessons and skills, hence fasten the latter process as we are more accustomed to digital modelling, fabrication and journaling technique. Furthermore, this subject gave me chances to learn from other people’s design and the proper method of documenting process and works.

This subject is focused on learning digital technology has impacted my view on designing, craftmanship and making. I think that digital fabrication is already making its way through the world. Rifkin (2011) stated that digital manufacturing is the third industrial revolution

by changing the method of the customer to maker relationship and engage. As we move forward through the growing world-wide network system, the built environment will become more adaptable to the demand of the consumer.

Transparent information, sharing collaboration and easy access to DIY craftsmanship (old-school and digital) will break down the autocratic, capitalistic style of industries. However, the strict top-down managerial system will still be there, because digital-related industries will have their own practice that favour the majority people.

Built environment is closely related to humans and beings. Either the environment is personal or communal, the industry of making, fabricating and building will continuously change as human keep developing new methods, techniques and tools. Designers need to take a part of the change in the design world and appreciate the previous craftsmanship as the past, present and future are related. As a student of digital design and fabrication, I am fortunate to learn this interesting and evocative technique in making designs because I get to benefit from having diverse skill sets and be a part of the change. I will explore different methods in designing and learn more about digital fabrication because these are very intriguing.

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APPENDIX 5.0 APPENDIX

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CREDITS

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BIBLIOGRAPHY Heath, A., Heath, D., & Jensen, A. (2000). 300 Years Of Industrial Design: Function, Form, Technique, 1700-2000, Watson‐Guptill: New York.

Iwamoto, L. (2009). Digital Fabrications: Architectural and Material Techniques. Princeton Architectural Press, New York.

Kolarevic, B. (2003). Architecture in The Digital Age: Design and Manufacturing. Spon Press, London.

Marble, S. (2008). Building The Future: Recasting Labor in Architecture. Philip Bernstein, Peggy Deamer. Princeton Architectural Press, pp. 38‐42 Matsys, (2012). Catalyst Hexshell. http://matsysdesign.com/2012/04/13/ catalyst-hexshell MOS Architect, (2004). Puppet Theater, https://www.pinterest.com/ pin/137782069819354156/ Rifkin, J. (2011). The Third Industrial Revolution. Palgrave Macmillan, pp107‐126 Scheurer, F. & Stehling, H. (2011). Lost in Parameter Space? Iad: Architectural Design, Wiley, 81(4), pp. 70‐79 Sommer, R. (1969). Personal Space: The Behavioral Basis of Design. Prentice‐ Hall: Englewood Cliffs, N.J.

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