DDF-M2-GROUP 6-T13 by XUEWEI LIU

SECOND SKIN DIGITAL DESIGN + FABRICATION SM1, 2017 M2 JOURNAL Group 6 XUEWEI LIU 718383 YUXIN JIANG 711708 CHEEJONG WONG 745610 Amanda -- tutorial 13

1.0 SKETCH DESIGN FROM M1 1.1 SKETCH MODEL FROM SHIRLEY 1.2 SKETCH MODEL FROM YUXIN 1.3 SKETCH DESIGN FROM CHEEJONG 2.0 DESIGN DEVELOPMENT 1 2.1 PERSONAL SPACE 2.11 SCENARIO 2.12 DIAGRAMING PERSONAL SPACE 2.13 READING RESPONSE 2.2 SKETCH DESIGN 2.21 PATTERN TEST 2.22 SKETCH DESIGN #1 2.23 SKETCH DESIGN #2 2.3 SKETCH MODEL #1, #2, #3 2.4 DIGITAL MODEL #1, #2, #3 3.0 PRECEDENT RESEARCH 3.1 FIRMAMENT, ANTONY GORMLEY 3.2 BEIJING BIENNALE CUBE, OYLER WU COLLABORATIVE 3.3 ESCAPISM, IRIS VAN HERPEN + DANIEL WIDRIG 4.0 DESIGN DEVELOPMENT 2-- PRECEDENT APPLIED TO DESIGN 4.1 DIGITAL MODEL #1 4.2 DIGITAL MODEL #2 4.21 PROTOTYPE FOR #2 4.3 DIGITAL MODEL #3 5.0 FINAL DESIGN DEVELOPMENT 5.1 FINAL DESIGN SKETCH 5.2 FINAL DIGITAL MODEL 5.3 FINAL PROTOTYPE 5.31 CARDBOARD 5.32 POLY 5.4 TESTING EFFECT 6.0 APPENDIX 6.1 REFLECTION 6.2 REFERENCE LIST 6.3 DESIGN PROGRESS

TABLE OF CONTENT

1.0 SKETCH DESIGN FROM M1

-- We reconsidered our works from module 1, trying to figure out how we can work better in a team and combine and relate our design concepts to each other in order to provide a more interesting oputcome.

1.1 SKETCH MODEL FROM SHIRLEY

1.2 SKETCH MODEL FROM YUXIN NETWORK TENSION FRAME LINE

3D NETWORK STRUCTURE GEOMETRY EXOSKELETON SOFT SKIN FLEXIBILITY -from Shirley (XueWei),we get a flexible 3D network structure that is based on repetition of similar geometry and can be randomly extended in all direction -the idea of geometric network structure as a exoskeleton system with interior flesh-like skin structure challenged the normal perception of skin and bone material system and worth further development in our future design -using simple geometry to create a complex, dynamic form that looks random, but there would be certain orders behind

-from Yuxin, we decided to develop her ske system -the SKIN structure had be integrated with t and bone becames more vague -this is an easy and effective manner to test ton thread layer by layer -density would be a focus point for later de tive area of personal space

1.3 SKETCH DESIGN FROM CHEEJONG

SECTIONS CURVES STRUCTURE SHELL

etch model as a different interpretation of SKIN and BONE

the bone as a whole so that the boundary between skin the pattern and density of the SKIN by applying the cot-

esign development in order to strengthen the most sensi-

-from Cheejong, the gridshell/waffle had been taken forwards for development as the waffle system can be developed to cover or span a great area -this sketch design can facilitate further design in a more structural aspect -no matter what the design may look like, there must be a structural component, even if it looks invisible

2.0 DESIGN DEVELOPMENT 1 In this stage, we aim to experiment and test our ideas. few attempts have been commenced, some succeeded, some failed. but , all the effort may contribute to our later design development. we can then select

2.1 PERSONAL SPACE 2.11 SCENARIO 2.12 DIAGRAMING PERSONAL SPACE 2.13 READING RESPONSE 2.2 SKETCH DESIGN 2.21 PATTERN TEST 2.22 SKETCH DESIGN #1 2.23 SKETCH DESIGN #2 2.3 SKETCH MODEL #1, #2, #3 2.4 DIGITAL MODEL #1, #2, #3

2.11 SCENARIO

2.1 PERSONAL SPACE -

I am a 16-year-old girl I was born in Melbourne and live here since then I study hard but I often catch up with friends as well ENJOY MY LIFE I truly love Melbourne

TRANSPORTATION MELBOURNE

However Where I live, where my home is, is very, very far from my school I spend so much time on transportation every day Tram is always packed Strangers incautiously touch my body, bump my shoulders, arms, even chest, and it is inevitable in a 120% full tram I know that But I’ve had enough A group of young man just finish gym and they are sweating a lot in this crazy hot Melbourne summer and they just smell like a box of stinky fish and I am standing right next to them Understandable But fairly enough Suffocated atmosphere wrapped around me when 200 people jam all together into this little box and the driver sets the heater at more than 20 degrees in winter I cannot even breath I’ve had enough Where is my PERSONAL SPACE Can I have any personal space on public transportation I don’t want to have such unpleasant experience to my nose and body every day At least Reduce it a little bit

2.12 DIAGRAMING PERSONAL SPACE

2.1 PERSONAL SPACE -

The left water color drawing demonstrates the idea of our thoughts about personal space. Generally, the closer to the body, the more sensitive the space would be (visually illustrated in color, the darker, the more sensitive) and this can be noticed in daily life that people seem be more cautiously aware of their personal space when someone gets close to them, namely, when there is intrusion, personal space is more likely to be considered. That is the most important reason for us to create a scenario for the project. We could be more specific and determined about the design synthesis.

-WHAT DO WE NEED TO DESIGN? -WHO ARE WE DESIGNING FOR? -WHY WE NEED IT? -WHEN AND WHERE CAN WE USE IT?

Personal space exists all the time, but you will probably not realize it if you stay alone in a large space without any interruption. On the contrary, people tend to realize and consider personal space when there is lack or intrusion of personal space. From this point of view, start from our specific scenario, we aim to design a 2nd skin wearable equipment that can be used protect and maintain our personal space.

2.13 READING RESPONSE

2.1 PERSONAL SPACE -

-- LOST IN PARAMETER SPACE?

“Rather than eradicating the need for mathematics in architectural practice, computation has intensified it.“1 --Scheurer and Stehling Computation help facilitate the entire design in various aspects. As demonstrated in the reading, computational design can help realize designer’s abstract idea into reality, define more dynamic and morphological forms into architectural design, optimize the materiality and also draw a better visual effect into details2. With the assistance of computation, we can realize our design motif in a more effective and precise manner.

These two drawings above illustrate what we define as the most sensitive personal space that we want to maintain within the scenario. Chest, shoulders, neck, mouth and most importantly, the nose. Odour is not the physical intrusion but it often associated when there is lack of personal space, hence, nose would be the focal point among the sensitive space we define. We target to produce a sensorial effect by considering the scale, density, complexity into design to strengthen the personal space.

Computational design, such parametric design, should be aimed for facilitating our design. We, as designers, still need to create and develop our conception instead of purely relying on computers. Design ideas and concepts are generated by us, while computation aims to optimize our ideas. We are the generative “equipment“ that provides the ideas, the computers are not. MESHES NURBS GRASSHOPPER ALGORITHM EVALUATION OF OUTPUT

1 Scheurer, F. and Stehling, H. (2011): Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 (4), July, pp. 70-79. 2 Scheurer and Stehling, Lost in Parameter Space?. 11

2.2 SKETCH DESIGN-

2.21 PATTERN TEST

-SKIN

-SELECTED-PATTERN SET

-SELECTED-GEOMETRY

A set of geometries and patterns were drew to test the effect of skin. We aim to use different lineweight, thickness, direction, number of layers to generate various density as well as complexity hence differentiate the sensitiveness level of personal space

- after a number of tests with different hatching, this pattern set was chosen -although it is just the simple radial form, it can provide different patterns and densities

GEOMETRICAL SYMMETRICAL REGULAR OVERLAPPING DENSITY FORM PATTERNING

-BONE STRUCTURE - the bone plays more structurally and will be able to hold the skin properly

2.22 SKETCH DESIGN #1

2.23 SKETCH DESIGN #2

SCALING DENSITY PATTERN

The first sketch design aims to define personal space by using variation of small skin elements to create a thread pattern/density effect. The simple geometrical element can then produce a certain space for enhancing the idea of personal space by rescaling and arranging the elements in a defined order. In this case, the SKIN will be the attached small pattern pieces while the structure underneath will be the BONE that holds the skin and it tends to be invisible.

GEOMETRICAL OPAQUE VS TRANSPARENT COMPLEXITY

This sketch design is developed from the first one by differentiating the scale and rearranging the order of each element. The proposed thread pattern set will be applied and overlaps will exist to vary the density of different areas of personal space. The BONE structure will be the frame of each SKIN element, hence, the skin and bone will be integrated and bone tends to be invisible when considering as a whole. 13

2.3 Sketch Model

#1-MATERIAL TEST

-same pattern is applied, but different materials are used to test the effect generated by different materiality -the thin cotton thread produces the best outcome. It shows clear pattern and enhances the density

#2-PATTERN TEST random crossed thread pattern VS radial thread pattern although the left one looks alright, but the radial one can produce more varied pattens when overlapping each other and considered to be more effective

#3-STRUCTURE TEST -the iron wire is used to explore the form of bone structure -it can help us archieve a more interesting and dynamic form by randomly playing with the prototype model -these models investigate the possibility of skin and bone as a system of one material and undifferentiated between skin and bone -the skin may play structurally to hold the bone in tension while the bone seems to be more flexible

2.4 DIGITAL MODEL

2.41 DIGITAL MODEL #1

TOP

ISOmetric

PERSPECTIVE BONE STRUCTURE

PERSPECTIVE

- idea developed from sketch models

-the idea comes from the waffle sketch model and also combines the structure created by sketch model-wire -the idea of skin converts to a series of rectangle panels-the rotating/spiral form wraps around the body which will protect the most important areas we consider in personal space: chest, shoulder, neck, mouth and nose -however, although it seems to well define and protect the personal space, it actually constricts the movement of the client that causes an non-igorable negative impact

2.4 DIGITAL MODEL

2.42 DIGITAL MODEL #2

PURELY LINE

DENSITY INCREASED

LINE--STRIP--OFFSET OF LINE

STRIP--MESH

- idea developed from sketch designs and models

-these models push forward the design to the homogeneity of skin and bone that these models consist of interconnected curves that span at different angle around the body -the curves act as both skin (visually covering the body) and bone (structural support) -this digital model we aim to test how simple linework can generate a certain volume and space around the body -the volume created by these lines defines a certain space which brings out a spatial effect and meanwhile, the massiveness of these line complex even creates an emotional effect

2.4 DIGITAL MODEL

2.43 DIGITAL MODEL #3

- idea developed from sketch drawing and model

-the waffle structure test explores more on the structure aspect in order to contribute to further design development of personal space -personal space will be applied to the establishment of structure as it will hold the entire 2nd skin equipment, and it needs to be defined first as it will sit on the body -however, the waffle structure will not be used for later design as it tends to create a more regular form, while we plan to create a more dynamic form for further development

3.0 PRECEDENT RESEARCH in this stage, we will do research on few precedents that can help improve our design, either in design concept, or technical aspect.

3.1 FIRMAMENT, ANTONY GORMLEY 3.2 BEIJING BIENNALE CUBE, OYLER WU COLLABORATIVE 3.3 ESCAPISM, IRIS VAN HERPEN + DANIEL WIDRIG

3.1 FIRMAMENT --ANTONY GORMLEY

Firmament is a series of structures designed by Antony Gormley. We choose one them as our precedent. The structure is a irregular polygonal structure, inspired the constellation as indicated in the name. Every joint somehow implied the location of each star in a constellation (the Firmament structure).

HOW CAN WE USE THIS PRECEDENT TO OUR DESIGN The random polygonal structure has great similarity with Shirleyâ&#x20AC;&#x2122;s design idea developed in Module 1. This can be developed into one integrated idea of a structure that can easily encompassing space and accommodate to shape by varying the number of sides and size of each face. POLYGON IRREGULAR RANDOM ENCOMPASSING STRUCTURE

3.2 BEIJING BIENNALE CUBE -- OYLER WU COLLABORATIVE The cube, the basic geometry, had been developed into a dynamic form. The structure was divided into 13 modules (cube -10 modules + 3 supporting modules). Each cube modules consisted of surfaces that divided into lines and twisting inside each frame of the module.

HOW CAN WE USE THIS PRECEDENT TO OUR DESIGN The twisting structure can be together with the idea behind sketch design #1 and #2, be further developed into a more complex system. 2D hexagon can be transformed into 3D polygonal structure while weaving pattern of threads can become more complex within a 3D system.

DYNAMIC TWISTING LINES

3.3 ESCAPISM -- IRIS VAN HERPEN + DANIEL WIDRIG

DISTORTION FOLDING STRIPS SEMI-TRANSPARENT

Escapism is a exhibition series designed by fashion designer Iris and Architect Daniel. The design theme is to escaping from everyday reality associated with the grotesque, the extreme and the fantastic. The distortion effects can be seen in some of the pieces. The one on previous page shown the idea of distortion of surface similar to a intensively folded fabric. The surfaces also divided into thin strips. HOW CAN WE USE THIS PRECEDENT TO OUR DESIGN The intensively folded surfaces can be seen as a further developed version of the previous digital model 2 where only strips that made up the structure. We also considered it as a one direction section of surfaces with folding forming the profile of the structure which is the further development of my design ideas from module 1.

4.0 DESIGN DEVELOPMENT 2 --PRECEDENT APPLIED TO DESIGN we further-developed each design with a determined precedent. we did more exploration and experimentation. design ideas has been narrowed down and conception has been finalized cautiously. attempt of fabrication can help us improve our design in a more thoughtful and considerable manner.

4.1 DIGITAL MODEL #1 --BASED ON FIRMAMENT, ANTONY GORMLEY 4.2 DIGITAL MODEL #2 --BASED ON BEIJING BIENNALE CUBE, OYLER WU COLLABORATIVE 4.21 PROTOTYPE OF #2 4.3 DIGITAL MODEL #3 --BASED ON ESCAPISM, IRIS VAN HERPEN + DANIEL WIDRIG

FRONT

BACK

ISOMETRIC 32

TOP

SIDE

4.1 DIGITAL MODEL #1 --BASED ON FIRMAMENT, ANTONY GORMLEY

VORONOI

VORONOI WHY VORONOI? -VORONOI is very complex form of polyhedron that contains a series of inner structure and component -VORONOI matches our design concepts within the progressive design development: -a complex form created by manipulating simple geometries--a complicated massive structure but can be started from a regular element -density can be enhanced by continuing fractal in a recursive manner to differentiate the sensitiveness level of personal space -the sensorial effect -- spatial effect created by framework of polyhedron a

GEOMETRY POLYHEDRON SCALINGW DENSITY FRAME VOLUME The use of VORONOI can relate to our scenario as well. The change of density in VORONOI is actually the visual demonstration of personal space expression. We can imagine that a 3D VORONOI represents the space of a tram and the intersection within this VORONOI module refers to the passenger on the tram. If you are the only one on the tram, you will be less likely to realize your personal space and in this situation, the VORONOI structure will be relatively simplified and less inner fractal exists. When you are on a packed tram, your personal space has been intruded, you start to be cautiously aware of personal space and in this case, the VORONOI will become denser with more recursive fractal structure happens inside. 33

FRONT

TOP

The front view of this model is designed and modified based on the Melbourne tram map. We develop our form with a focus on central Melbourne tram zone and we locate the central point at our most sensitive, intimate area of personal space --the nose, according to our scenario.

ISOMETRIC 34

SIDE

4.2 DIGITAL MODEL #2 --BASED ON BEIJING BIENNALE CUBE, OYLER WU COLLABORATIVE BEIJING BIENNALE CUBE consists of a giant cubic form with a number of inner fractal structure that makes the entire piece look like an integration of smaller cubes combining all together. The variation of skin is represented by the differentiation of hyperbolic angles, directions and orientation which then integrates all together and produce a complex form.

In this model, we still focused on the linework, but in a regular geometrical expression. It is interesting to see how simple lines can create such a complex volume, space and variation of density. We applied the cubic frame into our MESSY curve line model and it changed completely in form, but we still keep our concept, that we can use simple lines, simple forms to create sophisticated outcome. The expression of density has been learned from the skin infill in the precedent. We enhance the intimate personal space with a higher density.

-BUILDING BONE STRUCTURE

-SKIN APPLIED -TRANSPARENT FISH WIRE USED TO TEST EFFECT -DELICATE, BUT CAN GENERATE A LIGHTING EFFECT

-SKIN PATTERN -CHANGING WEAVING ANGLES, DIRECTIONS TO CREATE DYNAMIC EFFECT AND VARIATION OF DENSITY

-SKIN DENSITY -ANOTHER LAYER ADDED TO EXPLORE THE OVERLAPPING EFFECT AND DENSITY DIFFERENCE -DIFFERENT ANGLES PRODUCE DIFFERENTIATED RESULTS

-VARIATION OF MATERIAL -BLACK STRINGS USED -FINE, DELICATE THREAD PATTERN CREATED -MORE EFFECTIVE IN BRIGHT ENVIRONMENT

-JOINT -COMBINING COMPONENTS TOGETHER WITHOUT ANY GLUE -DELICATE, HARD TO BUILD, BUT EFFECTIVE RESULT CAN BE PRODUCED

4.21 PROTOTYPE OF #2

The test prototype was generally considered as a failed attempt at this stage. By fabricating the prototype model, we could be able to realize the shortage and mistakes in our design, we could then modify our design in order to provide a more successful outcome at the end. Although this was an unsuccessful attempt, we still learned things from it. We now had a better idea about the effectiveness of thread patterning; we gained more knowledge of materiality, how the material selection may cause an impact on the structure; we also had a play with the sensorial effect-- lighting effect with transparent/translucent materials. All the attempts may help us develop a more thoughtful, reasonable, effective design.

-TWO TYPES OF FISH WIRES WERE USED -ALTHOUGH A CERTAIN DENSITY AND COMPLEXITY GENERATED BY THIS SKIN INFILL, THE MATERIAL SELECTION WAS NOT SUCCESSFUL AS THE FISH WIRE IS TOO THICK AND TOUGH THAT IT CANNOT CREATE THE COMPLEX, DELICATE PATTERNING EFFECT AS EXPECTED

After doing this UNSUCCESSFUL attempt, we decided to regard 4.2 design while focusing on 4.1 as our final design.

-HARD TO MAINTAIN THE BALANCE BETWEEN BONE STRUCTURE AND TREAD PATTERNING AS FISH WIRE REQUIRES MUCH MORE TENSION TO CREATE A PRECISE PATTERN THAN A CUBIC FRAME CAN HOLD

FRONT

TOP

ISOMETRIC 38

LEFT

4.3 DIGITAL MODEL #3 --BASED ON ESCAPISM, IRIS VAN HERPEN + DANIEL WIDRIG

This model is developed from precedent #3, Escapism couture with intensive folding. We create an undulating surface around userâ&#x20AC;&#x2122;s body and divided it into hundreds of strips. We want to investigate the opacity of the structure in relation to the density of undulating/folding and number of strips divided. The elements that encourage we to further explore in this direction is the complex profile that create a tactile effect as well as visual one. This design defined the personal space through different curvature of the surface. The visual effect can make people in surrounding realise the personal space of the user.

5.0 FINAL DESIGN DEVELOPMENT

we had a few ideas and we worked parallelly with each design in previous stages. after a series of sketch design, digitalization experiments, as well as fabrication tests, we cautiously made a selection, we further developed the chosen idea through sketch drawings, digital modeling and fabricatioin of prototype.

5.1 FINAL DESIGN SKETCH 5.2 FINAL DIGITAL MODEL 5.3 FINAL PROTOTYPE

5.31 FINAL PROTOTYPE #1-- CARDBOARD 5.32 FINAL PROTOTYPE #2--POLYPROPYLENE

5.4 TESTING EFFECT

5.1 FINAL DESIGN SKETCH

-ESTABLISHEMENT OF STRUCTURE

-SKIN PATTERN APPLIED TO PRODUCE THE DENSITY AND EFFECTIVENESS -DECREASING SCALE TO REPRESENT THE MOST SENSITIVE PERSONAL SPACE

-REVERSE VERSION -ENHANCE THE INTIMATE PERSONAL SPACE IN AN OPPOSITE MANNER BY ENLARGING THE SCALE WHILE INCREASING THE DENSITY

-SKETCHES TO TEST THE EXPRESSION OF INTIMATE PERSONAL SPACE

This sketch design combines all three design ideas developed from precedents. With similar voronois and skin design from previous sketch, this design included the intensively folded fabric idea. The previous design is a neck piece, while this design adding the folding surface as a drape that cover larger area of body. 42

-the structure is based on the voronoi that contains a series of inner fractal structure -different lineweights aim to differentiate the main structure and substructure inside

-hatching applied to explore the density of skin/infill -transparent/translucent material is planned to be used for fabrication in order to create a sensorial effect

-denser in colour to represent the higher density of pattern -greater density represents more intimate personal space

5.2 FINAL DIGITAL MODEL

After a series of attempts and experimentation, this voronoi-based 2nd skin wearable equipment has been chosen for further development and demenstrated as our final proposal. -structure -- bone -- voronoi form -- comprising of various of simple geometries -- idea coming from previous M1 sketch model and further developed based on the precedent -ornamentation -- skin -- generating a sense of complexity and density by adjusting scale and layers of overlapping -- the expression of skin developed throughout the progressive design development -sensorial effect -- the focus of personal space complement design scenario -- the variation of density creating 45

5.3 FINAL PROTOTYPE In order to achieve the final design model, we make the prototype to simulate digital design. we decided to fabric it with cardboard and clear polypropylene and fold it for the effect test. we tested varies methods to build the fabrication format. ATTEMPT 1: UNROLL THE MESH OF THE ORIGINAL PROTOTYPE VIA GRASSHOPPER Based on the final design grasshopper script, we attempt to write a script ready for fabrication. However, there are some overlapped pieces.

ATTEMPT 2: UNROLL THE MESH OF ISOLATED CELL VIA GRASSHOPPER Due to the result of attempt 2, we trying to isolate the cells before unrolling. The previous script is works well in the individual cell avoid overlapping.

ATTEMPT 3: SMASH THE POLYGON OF ORIGINAL PROTOTYPE IN RHINO Considering the final model fabrication, we test the Smash in Rhino. And there are 3000+ pieces for our prototype model. It seems that our final model will get over 10000 pieces.

ATTEMPT 4: SMASH POLYGON OF ISOLATED CELL IN RHINO

-DIGITAL FABRICATION -- LASER CUT

5.3 FINAL PROTOTYPE

5.31 FINAL PROTOTYPE #1 --CARDBOARD

We decided to fabricate the prototype with different materials -- 1mm cardboard vs polypropylene in order to figure out what would be the better selection.

5.32 FINAL PROTOTYPE #2 --POLYPROPYLENE

With different materials used for final prototype, we explored and adjusted our method during fabrication. Different materials require different glue as they possess various features and propertities that may effect the fabrication. For instance, the polyproplyene can be able to produce the sense of transparency that allows us to explore more on variation of density and patterning, as well as lighting effect. However, polypropylene has high stiffness and rigidity which greatly constrains our fabrication. By fabricating with different materials, we could gain a better idea of materiality for next module and make better selection.

ALUMINUM + RED TRANSLUCENT MATERIAL

TIMBER + TRANSPARENT MATERIAL

ALUMINUM + BLUE TRANSLUCENT MATERIAL

WHITE PLASTIC + WHITE SHEET MATERIAL

ALUMINUM + TRANSLUCENT MATERIAL

CARBON FIBRE + TRANSLUCENT MATERIAL Computation is a helpful assistant when testing materiality as it can provide a direct view for designer to experience the outcome and effect created by different materials.

5.4 TESTING EFFECT

Polypropylene generates a good visual effect of transparency that allows light to go through while blurring the actual vision. We can protect our personal space while still maintains certain communication with the public. The lighting effect seems to produce a mysterious feeling to the object. In our scenario, lighting will depicts a more appealing feature to the wearable equipment that helps our client to be more comfortable and enjoyable when experiencing with the 2nd skin.

5.4 TESTING EFFECT

Cardboard creates a strong sense of rigidity and stiffness. As experimenting digitally in Rhino, we tend to explore different effects and experiences produced by differentiated materiality. Strong contrast of visual and sensorial can be observed between polypropylene and cardboard prototypes. The cardboard indicates strong stability in structural aspect while polypropylene shows more possibilities and variation of effect. Further exploration on materiality will be commenced in next FABRICATION module in order to optimise our design.

6.0 APPENDIX

6.1 REFLECTION 6.2 REFERENCE LIST 6.3 PROGRESS OF DESIGN

6.1 REFLECTION

Differing from other groups, we had a few ideas and we decided to work parallelly on each design motif at early stages. Throughout the entire design progress during MODULE 2, we did various sketches, modelling-- both digitally and physically in order to test and experiment on different ideas. Not all the attempts were successful. But we learned from the failure. We made better and more reasonable choices from those unsuccessful attempts. We had a hard time at the beginning. But, we overcame the problems through more attempts and experimentation. A better design would be made out of unsuccessful attempts. This is our design progress. We tried our best in exploring and developing ideas. When moving to the next stage, we will experiment more on the materiality and keep modifying and improving our design.

6.2 REFERENCE LIST

SCHEURER, F. AND STEHLING, H. (2011): LOST IN PARAMETER SPACE? IAD: ARCHITECTURAL DESIGN, WILEY, 81 (4), JULY, PP. 70-79.

illustration list https://blowpresents.files.wordpress.com/2011/07/picture-6.png http://www.antonygormley.com/projects/item-view/id/237#p2 http://www.oylerwu.com/images-beijing-biennale-cube http://www.irisvanherpen.com/ https://s-media-cache-ak0.pinimg.com/564x/05/45/e7/0545e72d3e9e e4fb30af6ba59a4e8246.jpg

SECOND SKIN PERSONAL SPACE

1 M1 REVIEW AND DISCUSSION

2 DESIGN DEVELOPMENT 1

DESIGN CONCEPT

PERSONAL SPACE CREATE A SENARIO READING RESPONSE

SKETCH DSIGN

SKETCH PHYSICAL MODEL

SKETCH DIGITAL MODEL

DIGITAL DESIGN + FABRICATION T13 AMANDA MASIP G6 XUEXEI LIU YUXIN JIANG CHEEJONG WO

6.3 PROGRESS OF DESIGN

4 PRECEDENT RESEARCH

DESIGN DEVELOPMENT 2

FINAL DESIGN DEVELOPMENT

FINAL SKETCH DSIGN

FINAL DIGITAL DSIGN

PROTOTYPE DEVELOPMENT

FIRMAMENT --ANTONY GORMLEY

BEIJING BIENNALE CUBE -- OYLER WU COLLABORATIVE

TEST EFFECT

ESCAPISM -- IRIS VAN HERPEN + DANIEL WIDRIG

PROTOTYPE TEST

6.3 PROGRESS OF DESIGN