MYSTERY IN THE DARK --SECOND SKIN DIGITAL DESIGN + FABRICATION SM1, 2017 M4 XUEWEI LIU 718383 Amanda -- tutorial 13 Group F YUXIN JIANG 711708 CHEEJONG WONG 745610
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MYSTERY IN THE DARK 5
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MYSTERY IN THE DARK 7
1.0 IDEATION
2.0 DESIGN
MEASURED DRAWING
SKETCH DESIGN FROM M1
SKETCH MODEL FROM SHIRLEY
SKETCH MODEL FROM YUXIN
SKETCH DESIGN FROM CHEEJONG
PROCESS OF MEASURED DRAWING
ANALYSIS -- DETAILED DRAWING
DESIGN DEVELOPMENT 1 DIGITAL MODEL
SCENARIO
DIGITAL MODEL -- ANALYSIS
PERSONAL SPACE
READING RESPONSE
SKETCH MODEL -- WORKSHOP SKETCH MODEL
DIAGRAMING PERSONAL SPACE
READING RESPONSE SKETCH DESIGN
PATTERN TEST
SKETCH DESIGN #1
SKETCH DESIGN #2
SKETCH MODEL #1, #2, #3
SKETCH DESIGN
DIGITAL MODEL #1, #2, #3
SKETCH DESIGN #1
PRECEDENT RESEARCH
SKETCH DESIGN #2
FIRMAMENT, ANTONY GORMLEY
SKETCH DESIGN #3
BEIJING BIENNALE CUBE, OYLER WU COLLABORATIVE
ESCAPISM, IRIS VAN HERPEN + DANIEL WIDRIG
REFLECTION OF M1
DESIGN DEVELOPMENT 2-- PRECEDENT APPLIED TO DESIGN
DIGITAL MODEL #1
DIGITAL MODEL #2
PROTOTYPE FOR #2
DIGITAL MODEL #3
FINAL DESIGN DEVELOPMENT
FINAL DESIGN SKETCH
FINAL DIGITAL MODEL
FINAL PROTOTYPE
CARDBOARD POLYPROPYLENE
TESTING EFFECT
M2 REFLECTION
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3.0 FABRICATION
4.0 REFLECTION
FROM M2
PHOTOGRAPHY OF FINAL MODEL
RHINO EXERCISE
DIGITAL MODEL FROM M2
MODEL IN SCENARIO
REFERENCE LIST
PROTOTYPE FROM M2
REFLECTION
ILLUSTRATION LIST
DESIGN DEVELOPMENT #1
5.0 APPENDIX
APPENDIX
READING RESPONSE WK 6
READING APPLIED TO DESIGN
READING RESPONSE WK 7
READING APPLIED TO DESIGN
PROTOTYPE
PROTOTYPE--COLOUR TEST
PROTOTYPE--JOINTS PROTOTYPE--MATERIALITY PROTOTYPE--DENSITY
PROTOTYPE--MODULE TEST
PROTOTYPE--MODULE EFFECT
PROTOTYPE--COMPOSITION #1
PROTOTYPE--COMPOSITION #2
PROTOTYPE--LIGHT EFFECT
PROTOTYPE--OPTIMIZATION
2ND SKIN FINAL DESIGN ASSEMBLY DRAWING UNROLL & CONNECTION FABRICATION SEQUENCE 2ND SKIN -- SHADOW EFFECT M3 DESIGN PROGRESS
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1.0 IDEATION
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MEASURED DRAWING
PROCESS OF MEASURED DRAWING
ANALYSIS -- DETAILED DRAWING DIGITAL MODEL
DIGITAL MODEL -- ANALYSIS
READING RESPONSE SKETCH MODEL -- WORKSHOP SKETCH MODEL SKETCH DESIGN
SKETCH DESIGN #1
SKETCH DESIGN #2
SKETCH DESIGN #3
REFLECTION OF M1
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Measured Drawings
ELEVATION SCALE
PLAN SCAE
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2:1
A4
SECTION SCALE
2:1
2:1
A4
A4
Process of Measured Drawing
The selected object -- the lemon slice, is considered as a skin-andbone sys-tem. In order to achieve a better out-come of the drawings, photographs would be applied during the process.
The support of photograph could contrib-ute to the measured drawing according to the reading of Jensen and Heath: 300 Years of Industrial Design. Photographs can produce direct and essential expressions of the feelings and texture in the subject.
When doing measured drawing, photo-graph is a great helper which would allow drawer to get an accurate and precise di-mension of the measured subject by trac-ing the flatten images of different view points. A series of photographs were taken and the clearest ones would be used to help complete the measured drawings.
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Analysis -- Detail Drawing Detail drawing of lemon slice is completed in order to demonstrate the composition of skin-and-bone system within the selected object. Additionally, this detail draw-ing can clearly show the structure of lemon flesh, which is considered as the soft bone that holds the pith skin. This natural, organic form of flesh may generate great inspiration towards the further design in this project.
SKIN & BONE
LEMON PITH - SKIN LEMON FLESH -- SOFT BONE
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What would be the bone? Must the bone be solid and static? What about a soft bone structure?
SKIN
Does the bone hold the skin or the skin actually produce tension to maintain and balance the bone structure?
SOFT BONE In this project, the entire lemon flesh will be treated as the bone, but a soft, unstatic, dynamic bone structure instead of a rigid structure. The skin, in this case, the pith, actually functions as a membrane structure that holds the flesh and keeps them in a balanced condition.
Normally, the rigid bone structure would support the relatively fragile skin. In a reverse case, considering a relatively static skin while a soft bone, it may generate more possibilities and creative ideas to the assigned brief as a more dynamic status of bone can be perceived.
- the SKIN is more likely to be the main structure that keeps the soft bone in position - the soft bone could be dynamic and flexible
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Digital Model
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Texturising the lemon skin -boolean difference command in rhino
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Digital Model -- Analysis
- Digital model started from tracing the plan of measured drawing in Rhino, then extrusion command was used to build a 3-D model -Grasshopper was used to create the texture of lemon skin -Inspirations for sketch design was generated while using grasshopper (although I failed to use grasshopper in the end)
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Reading response -- Personal space : the behavioral basis of design Sommer, R. (1969). Personal space : the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J. : Prentice-Hall, c1969.
According to Sommer (1969), personal space can be defined as a certain area that has an invisible boundary around a human body that restricts any intrusion behavior and the front space is generally considered to be less tolerant than the side space. -�The invasion of personal space is an intrusion into a person’s self-boundaries.� (Sommer, 1969)
How can we respond intrusion of personal space? Personally, the space in front of my face would be considered as a more sensitive and less tolerant space which leads to the decision of creating a wearable equipment that covers chest, shoulders, neck and half of face. Eyes will not be covered as no limitation of mobility will be willing to expect.
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A series of small components were used to test different prototypes.
The most stable and usable prototypes were chosen for further design development.
The BONE was built directly over model’s body and then the cloth -- SKIN, was tied and wrapped around the bones.
Further development was commenced to achieve a more complete design outcome.
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Sketch Model--workshop
The sketch model was assigned to complete within the workshop in the form of group work. It aims to produce a proper opportunity for us to start our design thinking and gain inspirations during the model-making process. Further and more comprehensive understanding of SKIN & BONE system was archived while constructing the system gradually by ourselves. Based on the materials we had, the BONE system seems to be fragile and unstable. The SKIN -- cloth, in this situ-ation, would function more towards structure instead of simply cover the BONE. Although the cloth is soft, it can generate great tension among the BONES and maintain and balance the entire structure. The whole structure would not be able to be constructed without the help the SKIN. Hence, the functionality and bal-ance of SKIN and BONE systems is required to be well and thoroughly considered before starting the design.
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Sketch Model
The sketch model started from building up the SKIN structure . In my design this time, I would like to apply the reverse concept of skin and bone. The skin in the model is the wooden beam structure while the cotton balls filled in the skeleton structure may be regarded as the bone struc-ture. The soft gentle texture of cotton balls may lead to a more relaxing and dynamic outcome.
prototype (idea testing) 22
complete design
The sketch model aims to initial idea so that we could able to decide if this idea is and should we continue to on the idea.
VOLUME
SKIN
FLEXIBILITY
TEXTURE FLUIDITY
test our then be relevant develop
BONE --SOFT BONE
PERSONAL BALANCE
LIGHTWEIGHT
EMOTION INTRUSION
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Sketch Design #1 This idea comes from my selected object, LEMON SLICE, particularly the texture of the lemon skin. The idea was generated during digital model construction process.
bone starts series sized
structure -from a of dif-ferent spheres
extension and connection among spheres con-struct a bone system The skin -a translucent surface over the bone sys-tem -create a sense of dynamics and fluidity
As the whole design would be covered with a layer of translucent or transpar-ent skin, it reduces the solidity and rigidity of the structure. However, as the bone structure is rigid, it can help prevent intrusion into personal space, espe-cially the front space which Sommer believes to be more sensitive than side space.
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Sketch Design #2 This design aims to focus on the functionality of the bone. The BONE in this case will not function as a structural component, instead, it will be treated more like an ornamental component. The bone will be illustrated via a certain pattern of cotton thread over a relatively stiff structural skin.
The cotton goes over skin and the whole in tension balance.
thread the keeps structure and
This design I focus on roughly the same part of body as I believe that the up-per body and face is more sensitive when considering personal space. In this design, I tend to build the “second skin“ a bit higher around face so that it can cover mouth and nose and maintain the personal space.
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Sketch Design #3
Inspirations of this skin and bone de-sign was generated from the structure of lemon flesh. the skeleton would be treated as the bone -- the structural system while the skin would refer to the small fragments attached to the skel-etons.
The idea of personal space can be indicated by the sparkling frag-ments along the skeleton bone structure. The design will cover the neck and chest in reality and the sparkling, sharp pieces of bone structure may produce a sense of limitation to personal space boundary.
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Inspiration for Sketch Dedign
Fig A
Fig 2 Fig 1&2. Reading between the Lines by Gijs Van Vaerenbergh source: https://www.dezeen.com/2011/09/09/reading-between-the-lines-by-gijs-van-vaerenbergh/
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Fig 4 Fig 3&4. ICD/ITKE Research Pavilion 2012 source: http://www.arch2o.com/icditke-research-pavilion-2012/arch2o-icd-itke_rp12-9/
Reflection of M1
measured drawing digital model sketch model/prototype sketch design
A series of foundation work of design has been completed in M1. It is the process of gradually develop-ing initial ideas and contributing to further design. I realized that I probably paid too much attention on the concept of REVERSE SKIN & BONE SYSTEM that I actually get confused and lost about the basic rules of skin and bone. For instance, it would be more reasonable and explainable to consider the cotton balls as the skin while the wooden frame as the bone in my sketch model instead of the reverse version. The second sketch design seems more likely to be furtherdeveloped and I started to be clearer about my chosen system, as well as later development of the design scheme after the presentation. Some precedents would be researched to complement design such as ICD Pavilion 2012 and Gijs Van Vaerenbergh’s project ‘Reading between the lines’.
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2.0 DESIGN
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SKETCH DESIGN FROM M1
SKETCH MODEL FROM SHIRLEY
SKETCH MODEL FROM YUXIN
SKETCH DESIGN FROM CHEEJONG
DESIGN DEVELOPMENT 1
PERSONAL SPACE
SCENARIO
DIAGRAMING PERSONAL SPACE
READING RESPONSE
SKETCH DESIGN
PATTERN TEST
SKETCH DESIGN #1
SKETCH DESIGN #2
SKETCH MODEL #1, #2, #3
DIGITAL MODEL #1, #2, #3
PRECEDENT RESEARCH
FIRMAMENT, ANTONY GORMLEY
BEIJING BIENNALE CUBE, OYLER WU COLLABORATIVE
ESCAPISM, IRIS VAN HERPEN + DANIEL WIDRIG
DESIGN DEVELOPMENT 2-- PRECEDENT APPLIED TO DESIGN
DIGITAL MODEL #1
DIGITAL MODEL #2
PROTOTYPE FOR #2
DIGITAL MODEL #3
FINAL DESIGN DEVELOPMENT
FINAL DESIGN SKETCH
FINAL DIGITAL MODEL
FINAL PROTOTYPE
CARDBOARD POLYPROPYLENE
TESTING EFFECT
M2 REFLECTION
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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
SKETCH MODEL FROM SHIRLEY
SKETCH MODEL FROM YUXIN
NETWORK TENSION FRAME LINE
3D NETWORK STRUCTURE GEOMETRY EXOSKELETON SOFT SKIN FLEXIBILITY
-this is the sketch model from my previous module that considered as a triangulat-
-the sketch model of Yuxin was chosen for further developm
ed irregular form -the idea of geometric network structure as a exoskeleton system
-the SKIN structure had be integrated with the bone as a wh
with interior flesh-like skin structure challenged the normal perception of skin and
-this is an easy and effective manner to test the pattern and
bone material system and worth further development in our future design
-density would be a focus point for later design developme
-using simple geometry to create a complex, dynamic form that looks random, but there would be certain orders behind
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ment on skin--thread patterning
SKETCH DESIGN FROM CHEEJONG
SECTIONS CURVES STRUCTURE SHELL
-this is the sketch and model from Cheejong’s previous work which focuses on
hole so that the boundary between skin and bone becomes more vague
the waffle structure
d density of the SKIN by applying the cotton thread layer by layer
-this sketch design can facilitate further design in a more structural aspect
ent in order to strengthen the most sensitive area of personal space
-no matter what the design may look like, there must be a structural component, even if it looks invisible
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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
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PERSONAL SPACE SCENARIO DIAGRAMING PERSONAL SPACE READING RESPONSE SKETCH DESIGN PATTERN TEST SKETCH DESIGN #1 SKETCH DESIGN #2 SKETCH MODEL #1, #2, #3 DIGITAL MODEL #1, #2, #3
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PERSONAL SPACE --SCENARIO 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 Let me Have a little bit space to breath
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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.
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DIAGRAMING PERSONAL SPACE
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.
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READING RESPONSE -- 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. 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?. 41
PATTERN TEST
-SKIN
-SELECTED-PATTERN SET - 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 -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
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-BONE STRUCTURE GEOMETRICAL SYMMETRICAL REGULAR OVERLAPPING DENSITY FORM PATTERNING
- the bone plays more structurally and will be able to hold the skin properly
SKETCH DESIGN #1
SKETCH DESIGN #2
SCALING DENSITY PATTERN GEOMETRICAL 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.
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.
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SKETCH MODEL
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#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 achieve 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
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DIGITAL MODEL #1
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TOP
TOP
BONE STRUCTURE
PERSPECTIVE
ISOmetric
ISOmetric
PERSPECTIVE
REFLECTION OF PREVIOUS WORK
- 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
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DIGITAL MODEL #2
PURELY LINE
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DENSITY INCREASED
LINE--STRIP--OFFSET OF LINE
STRIP--MESH
REFLECTION OF PREVIOUS WORK
- 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
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DIGITAL MODEL #3
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REFLECTION OF PREVIOUS WORK
- 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
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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.
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FIRMAMENT, ANTONY GORMLEY
BEIJING BIENNALE CUBE, OYLER WU COLLABORATIVE
ESCAPISM, IRIS VAN HERPEN + DANIEL WIDRIG
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FIRMAMENT --ANTONY GORMLEY
This installation of Antony Gormley can be considered as a complicated framework while it is actually comprised of pure geometries. Every surface can be simplified as an irregular polygon. Composing in a random-like method, but there is a certain order behind the work that produces this complex form. HOW CAN WE USE THIS PRECEDENT TO OUR DESIGN The idea of my M1 sketch model consists of pure geometries as well. This precedent gives me an idea that I can create a comlex form with simple geometries but there would still be a special logic behind it. The complexity can be remained but logically organize the form.
POLYGON IRREGULAR RANDOM ENCOMPASSING STRUCTURE
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BEIJING BIENNALE CUBE -- OYLER WU COLLABORATIVE
This big cube can be perceived as an appropriate example of skin-and-bone system. The cable thread infill almost creates a patterning and makes up dynamic space to the entire structure. Similar to Antony Gormley’s Firmament, this is a complex form with a series of geometries but the logic behind the form can be discovered. HOW CAN WE USE THIS PRECEDENT TO OUR DESIGN The patterning can give us inspirations for thread patterning of skin system. The threads play not only as an infill component, but also a demonstration of variation of space through densities. The infill does not stay on a particular surface or angle, but twisted in a special manner which adds great complexity and dynamics to the whole structure.
DYNAMIC TWISTING LINES
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ESCAPISM -- IRIS VAN HERPEN + DANIEL WIDRIG
This artpiece produces a sense of organic, dynamic and distortion. This mesh-like wearable piece illustrates a more artistic aspect of our concept. Folding, distortion, irregularity generates this non-uniform but logical piece. The logic behinds demonstrates the idea of generative design which may help produce an expected form. HOW CAN WE USE THIS PRECEDENT TO OUR DESIGN What I learn from this Escapism artpiece produces a great example of dynamic and organic form. Moreover, this is a one piece structure that contains both skin and bone. In this case, the skin is bone while the bone is the skin which corresponds my original idea of transforming skin and bone in a design. DISTORTION FOLDING STRIPS SEMI-TRANSPARENT
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2.3 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.
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DIGITAL MODEL #1
--BASED ON FIRMAMENT, ANTONY GORMLEY
DIGITAL MODEL #2
--BASED ON BEIJING BIENNALE CUBE, OYLER WU COLLABORATIVE
PROTOTYPE OF #2
DIGITAL MODEL #3
--BASED ON ESCAPISM, IRIS VAN HERPEN + DANIEL WIDRIG
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FRONT
BACK
ISOMETRIC 62
TOP
SIDE
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
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.
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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 64
SIDE
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.
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-BUILDING BONE STRUC-
-SKIN APPLIED
-SKIN PATTERN
-SKIN DENSITY
-VARIATION OF MATERIAL
-JOINT
TURE
-TRANSPARENT FISH WIRE
-CHANGING WEAVING
-ANOTHER LAYER ADDED
-BLACK STRINGS USED
-COMBINING COMPO-
USED TO TEST EFFECT
ANGLES, DIRECTIONS TO
TO EXPLORE THE OVERLAP-
-FINE, DELICATE THREAD
NENTS TOGETHER WITHOUT
-DELICATE, BUT CAN GEN-
CREATE DYNAMIC EF-
PING EFFECT AND DENSITY
PATTERN CREATED
ANY GLUE
ERATE A LIGHTING EFFECT
FECT AND VARIATION OF
DIFFERENCE
-MORE EFFECTIVE IN
-DELICATE, HARD TO
DENSITY
-DIFFERENT ANGLES
BRIGHT ENVIRONMENT
BUILD, BUT EFFECTIVE RE-
PRODUCE DIFFERENTIATED RESULTS
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SULT CAN BE PRODUCED
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. After doing this UNSUCCESSFUL attempt, we decided to regard #2 design while focusing on #1 as our final 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 -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
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FRONT
TOP
ISOMETRIC 68
LEFT
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 user’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.
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2.4 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.
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FINAL DESIGN SKETCH FINAL DIGITAL MODEL FINAL PROTOTYPE
FINAL PROTOTYPE #1-- CARDBOARD
FINAL PROTOTYPE #2--POLYPROPYLENE
TESTING EFFECT
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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.
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-the structure is based on the voronoi that contains a series of inner fractal structure -different lineweights aim to differentiate the main structure and sub-structure 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
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FINAL DIGITAL MODEL
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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
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FINAL PROTOTYPE
Voronoi is the main component contains in our design which produces a great complexity and dynamics. However, voronoi greatly increases the difficulty of fabrication. A number of unroll methods were experienced in order to find out the most appropriate manner of fabrication.
-GRASSHOPPER--UNROLL MESH OF THE ENTIRE MODEL
-GRASSHOPPER--UNROLL INDIVIDUAL VORONOI ELEMENT
The script of unrolling in grasshopper can unfold the design, however, overlapping seems to be an issue in this method due to the complexity of voronoi.
Explode the general form before unrolling so the whole structure breaks into a series of individual elements. Unrolling applied to each element separately and a successful unroll of one piece can be achieved.
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-RHINO--SMASH THE ENTIRE MODEL The smash command in rhino unroll the entire form into individual pieces that in our case, more than 3000 pieces will be produced. Considering the difficulty of assembling model, this method will not be used.
-RHINO-- SMASH INDIVIDUAL VORONOI ELEMENT The smash command in rhino results in this exploded pieces which can be helpful for our testing prototype of perspex. However, the assembly of model requires various angles on each edge which can be hardly achieved in 2D laser cutting.
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FINAL PROTOTYPE #1 --CARDBOARD
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We decided to fabricate the prototype with different materials -- 1mm cardboard vs polypropylene in order to figure out what would be the better selection.
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.
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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.
TESTING EFFECT
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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.
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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.
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M2 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.
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SECOND SKIN PERSONAL SPACE
1 M1 REVIEW AND DISCUSSION
2 DESIGN DEVELOPMENT 1
DESIGN CONCEPT
PERSONAL SPACE CREATE A SENARIO READING RESPONSE
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SKETCH DSIGN
SKETCH PHYSICAL MODEL
SKETCH DIGITAL MODEL
DIGITAL DESIGN + FABRICATION T13 AMANDA MASIP G6 XUEXEI LIU YUXIN JIANG CHEEJONG WO
M2 PROGRESS OF DESIGN
3
5
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
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3.0 FABRICATION
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FROM M2 DIGITAL MODEL FROM M2 PROTOTYPE FROM M2 DESIGN DEVELOPMENT #1 READING RESPONSE WK 6 READING APPLIED TO DESIGN READING RESPONSE WK 7 READING APPLIED TO DESIGN PROTOTYPE PROTOTYPE--COLOUR TEST PROTOTYPE--JOINTS PROTOTYPE--MATERIALITY PROTOTYPE--DENSITY PROTOTYPE--MODULE TEST PROTOTYPE--MODULE EFFECT PROTOTYPE--COMPOSITION #1 PROTOTYPE--COMPOSITION #2 PROTOTYPE--LIGHT EFFECT PROTOTYPE--OPTIMIZATION 2ND SKIN FINAL DESIGN ASSEMBLY DRAWING UNROLL & CONNECTION FABRICATION SEQUENCE 2ND SKIN -- SHADOW EFFECT M3 DESIGN PROGRESS
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DIGITAL MODEL FROM M2 RECAP: 100 words + Images that review your design after M2 If you have split from your group you will need additional text + images to communicate what concepts or ideas you have taken from the groupwork and how you have evolved the design -feedback from M2 presentation:
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-scale of each voronoi needs to be justified
-material consideration
-structural component
-specific dimension of model needs to be
PROTOTYPE #1FROM M2 Sketches/Diagrams of design development in reponse to feedback from M2 design review
-feedback from M2 presentation:
-MDF vs polypropylene
-MDF produces a sense of solidity and stiffness -polypropylene seems to be effective to generate lighting effect
-lack of contrast
-not delicate
-joints/binding material needs to be changed
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DESIGN DEVELOPMENT #1
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-digital model has been modified
-scale of each voronoi module has been increased
-base shape maintains
-further develop the design based on scenario
-solid modules sit at the back to enhance the strong protection of the back
sonal space
-hollow modules sit at the front--creating a sense of complexity and hence strengthening per-
-feedback
-lack of transition between solid and hollow
-specific dimension to fit human body
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READING RESPONSE WK 6 Architecture in the Digital Age - Design + Manufacturing/ Branko, Spon Press, London c2003
-3D scanning
-translation from physical to digital through a three-dimensional scanner and it involves not only physicals
but also site surrounding environment -digital fabrication: from digital to physical
-facilitate by programmed machine to produce a more accurate and higher quality outcome
- 2D FABRICATION
-CNC cutting that includes various fabricating technology such as laser cutters
-subtractive fabrication
-removal from solids with calculated volume of materials – 3D milling cutting
-additive fabrication
-the formation of adding material in a certain order progressively – the converse of milling
-formative fabrication
-formation into specified shape through reshaping and deformation with external forces such as mechani-
cal forces, restricting forms, heat or steam etc -assembly
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-using 3D models to determine the movement and location of required component
READING APPLIED TO DESIGN
How does the fabrication process and strategy effect your second skin project?
-we use laser cut to fabricate our models -unroll the three-dimensional model into 2D surface for fabrication -break the complex form into small pieces -when assembling the model, we use digital model to help locate the position of each piece
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READING RESPONSE WK 7 Digital Fabrications: architectural + material techniques/Lisa Iwamoto. New York: Princeton Architectural Press c2009
Describe one aspect of the recent shift in the use of digital technology from design to fabrication? Digital production is able to narrow the gap between design representation and the final outcome, building, affording a hypothetically seamless connection between design and making. But as with any design process, digital practice comes with its own restraints and possibilities. Digital fabrication streamlines production, blending upstream and downstream processes. 3D digital modelling and digital
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fabrication are able to energise design thinking and expand the boundaries of architectural form and construction. Digital fabrication expands roles of architect to include oversight of building and construction management process.
Reading applied to design
Referencing from the lectures and readings, what is the implication of digital fabrication on your design ?
We utilise digital fabrication to
Besides, we also used folding
manufacture our design. Laser
method in our design. When
cutting is selected as our fabri-
folds are introduced into planar
cation method. Laser cutter is
material, this material gain stiff-
able to process many different
ness and rigidity. We utilise the
sheet materials in a range of
stiffness of the folding to be self-
thicknesses and sizes. Cutting,
supporting structural strength of
etching and rastering are the
the voronoi modules.
typical outcomes of laser cutting. Laser cutter has several restraints such as maximum and minimum cut area and processing cost.
LASER CUT SOURCE: https://dldztak330v9c.cloudfront.net/cdn/farfuture/5Sio2LKZ5YEXDsDIBTc5cPjEmDAYVkJi6 An_b7LgdLc/mtime:1453442329/sites/default/files/styles/landing_page_item_image/public/Website%20 Thumbnails%20-%20Laser%20Cutter.jpg?itok=jps0eb73
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PROTOTYPE -- COLOUR TEST
-LASER CUT -MATERIAL SELECTION -- CARDBOARD
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-in order to test different skin effect, each prototype module is enormously enlarged in scale -three different types of skin/infill are planned to be tested -hollow
-hollow line pattern
-radial thread pattern
-color test -- BLACK vs WHITE
-same module but fabricate in different colours
-different effect
-BLACK is considered as the more successful and effective colour than white -white seems to be a bit plain on human skin -black provides stronger contrast with skin and hence is believed as a more effective colour -the contrast between black model and its shadow tends to create a sense of mysterious effective -black works better with shadow--lighting effect -thread patterning creates better complexity and seems to be more effective than hollow line patterning
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PROTOTYPE -- JOINTS
-DOUBLE TABS--POLYPROPYLENE
-SINGLE TAB--POLYPROPYLENE
-PERSPEX
-EYELET-4mm
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PROTOTYPE -- MATERIALITY -- FABRIC INFILL
-the selection criteria of fabric materiality involves following consideration: -opaqueness -thickness -transparence -flexibility -elasticity -resilience
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TEST EFFECT OF FABRIC -fabric can produce a sense of texture that pattern threads cannot compete -fabric can coporate with light effect well -however -fabric does not match with our poly bone frame -fabric decreases the sense of mysteriousness we tend to create -hence -fabric will not be used in final project
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PROTOTYPE -- DENSITY
-the four pieces are the same in scale while fabricated with different density of the holes -the density of holes indicates the variation of thread pattern -refering to our design intent, denser pattern will be used for depicting more intimate and sensitive personal space
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PROTOTYPE -- MODULE TEST
-SOLID
-SOLID
-SOLID
-FRAME
-TRANSLUCENT
-TRANSLUCENT
-BLACK
-BLACK
-LIGHTING EFFECT
-LIGHTING EFFECT
-STRONG CONTRAST
-HOLLOW
-ETCHING PATTERNING
SENSE OF SOLIDITY AND STIFFNESS
-SHARP EDGE AND CORNER -CLEAR DEMENSTRATION OF STRUCTURE
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-FRAME
-FRAME
-FRAME
-BLACK
-BLACK
-BLACK
-CLEAR PERSPEX
-HOLLOW
-HOLLOW
-HOLLOW
-FRAME
-FILLET CORNERS
-FILLET CORNERS
-FILLET CORNERS
-TRANSPARENCY
-INTERESTING SHADOW
-HOLES ON THE EDGE AS PATTERNING
-THREAD PATTERNING
-GREAT LIGHTING/SHADOW EFFECT
-GREAT SENSE OF COMPLEXITY
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PROTOTYPE -- MODULE EFFECT
-hollow black module with radial thread patterning -effective -sense of complexity -can be used for the most intimate and sensitive area of personal space to enhance the importance and produce more protection in both visual and sensorial aspect
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PROTOTYPE -- COMPOSITION #1
-last test for translucent polyproplene -not as effective as black polyproplene -lack of contrast -translucent modules will not be used in the final fabrication
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PROTOTYPE -- COMPOSITION #2
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PROTOTYPE -- LIGHTING EFFECT
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-copper wire lights -mysterious effect -contrast with black model -depict personal space in the dark
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PROTOTYPE -- OPTIMISATION
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-a series of connected modules have been fabricated -test structural stability and stiffness -test effect on human body
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2ND SKIN FINAL DESIGN
-TOP
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-FRONT
-LEFT
-BACK
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ASSEMBLY DRAWING
-HOLLOW MODULE*4 -light-weight frame module -sitting on the shoulders -connecting front protection and back protection
-SEMI-THREAD-PATTERNING MODULE*11 -transition modules between full-thread patterning modules and hollow modules -thread patterning applying to some surfaces -positioning around the main modules--full-thread-patterning module -covering neck, shoulder, chest
-FULL-THREAD-PATTERNING MODULE*2 -largest in scale -intimate focus part -thread patterning producing a sense of complexity -visually depicting the most sensitive personal space around mouth and nose to reduce odor smell -denser patterning referring to more protection and hence stressing the more intimate personal space
-TOP
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-FRONT
-LEFT
-SOLID MODULE*3 -placing at the back -strong protection -solid and stiff protection of personal space for the back
-SEMI-SOLID MODULE*5 -transition module between hollow modules and solid modules -open surfaces combining with closed surfaces -smooth transition
-BACK
-ISO-1
-ISO-2
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UNROLL & CONNECTION
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FABRICATION SEQUENCE
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2ND SKIN -- SHADOW EFFECT
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M3 PROGRESS OF DESIGN
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4.0 REFLECTION
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PHOTOGRAPHY OF FINAL MODEL MODEL IN SCENARIO REFLECTION
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Digital Design and Fabrication – computation + idealization + realization. During the last 12 weeks, I experienced the entire process from generating and developing ideas to producing an actual fabrication piece in reality. When fabrication is involved in design, a series of issues may emerge. Thorough considerations are required in order to solve the challenge but all of these problems we face now facilitate us understanding and comprehending the fabrication and constructing process. Individual work for M1 while working as a team from M2 to M3, a number of challenges were faced during the period, but we helped each other to overcome the barriers and achieved our goals at the end. Skin and bone system was chosen at the beginning. A different interpretation of skin and bone was aimed to achieve that the skin and bone may be integrated together or the skin may be used to hold the bone structure. In terms of personal space, the intimate area was defined as the chest,
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face, with a main focus on nose to block the smell. Protect-
a lot of time in M2 as we were still not sure about our design
ing personal space means resisting the smell from a certain
concept. Three distinctive designs were running at the same
distance and this distance is the limit of personal space to
time and finalizing at the last minute by comparing the out-
me. When working in a group from M2, the idea of smell and
comes. A few prototypes of my cubical skeleton complex
personal space continued to be used as the concept for
were tested, but the results did not come out successfully.
the 2nd skin project and I further developed the concept by
The Perspex frame was not strong and stable enough to hold
creating a scenario: a 16-year-old girl on the public transport
the thread patterning and the cubic frame can be hardly
was trying to protect her personal space and she seemed
connected to each other. Hence, Cheejong’s voronoi com-
lost herself in the crowd. Our 2nd skin project seems to be an
plex model was chosen for further development. Inspirations
appropriate wearable equipment that can help her strength-
coming from all different trials and attempts, as well as a few
en and protect personal space on the busy street and public
precedent researches. The idea of generative skeleton form
transport.
was inspired by Firmament of Antony Gormley that we aimed
Learning as a designer, teamwork is important in the entire career. When I was assigned to work with Yuxin and Cheejong, we had a series of problems directly exposed to us. We got lost, we had argument, we had problems with communication, because everyone has their own idea and everyone wants to persuade others to believe in their ideas. We wasted
to produce a certain logic behind the complex form. The thread patterning was greatly influenced by Beijing Biennale Cube of Oyler Wu Collaborative that threads can build up complex infill and generate various densities. These precedents help us finalize the design concept and add more logic behind the design.
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Moving on to the final section, the fabrication module, we did a series of prototypes and research in order to produce a complete and fine model. Due to the complexity of voronoi, we tried different ways of unrolling in both rhino and grasshopper and modifying and simplifying the digital form at the same time. 2D fabrication—laser cutting was used throughout the whole fabricating process that we unrolled the 3D form in to flat planar pieces and then assembly together to build a 3D model (Kolarevic, 2003). Material of fabrication has been test in M2 and polypropylene will be used. Furthermore, Yuxin and I did a number of prototypes before final fabrication in order to optimizing the fabrication method: prototypes for testing color; prototypes for testing joints; prototypes for testing fabric infill; prototypes for testing thread patterning density; prototypes for testing individual module form; prototypes for testing composition and shadow; prototypes for testing lighting effect. Not all the attempts were successful, for instance, we disregarded the fabric infill and lighting as they disrupted our general form. Finally, we developed this fabricating sequence: unrolling individual voronoi module; sewing fabricate thread patterning pieces; folding and gluing
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each cell; arrange and assemble individual cells together to
for my studio and I felt more confident for the second time
complete the model. The thread patterning is considered to
doing fabrication. As Bernstein and Deamer (2008) men-
be effective and creates various densities and complexities
tioned in Building the Future, digital design and fabrication
to the design, but it was a very time-consuming and delicate
can be perceived as a direct link between architects and
job to do. The Loctite super glue worked well with polypro-
tools that realized the designs. Digital design helps designer
pylene however, it was inevitable to have some burning
achieve a more accurate and precise outcome while digital
marks of chemicals. In terms of optimizing the fabrication for
fabrication realizes the accurate design in reality. We now
a larger demand, a more effective manner of sewing thread
live in a digitalized world, digitalization and computation
patterning would be required and a more delicate way of
seems to be essential in our life. When design fabrication turns
assembling polypropylene needs to be considered.
into a larger demand, manufacturing starts to emerge. We are living in the world of “distributed manufacturing� (Rifkin,
Digital design and fabrication is a helpful and valuable subject in the entire architecture study as it provides me a great opportunity to experience the whole fabrication process. I now get familiar with the fabrication process that how to transform 3D model into 2D planar pieces. Furthermore, what I learned in DDF even helped a lot with my studio work. I need to do physical fabrication for my studio air, and my
2011). Without digital fabrication, it would be hardly possible to produce such high quality and large quantity products. The world has been developed and progressed, we, as a designer, need to develop our knowledge and technical skills. What I have learned in Digital Design and Fabrication will be helpful not only in my university study, but may contribute to my entire future.
project was using 2D fabrication of laser cut. Immediately after completing fabrication in DDF, I used all the knowledge
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5.0 APPENDIX
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RHINO EXERCISE REFERENCE LIST ILLUSTRATION LIST APPENDIX
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RHINO EXERCISE
Circles around curve -- perpen-dicular to the curve
Curves around two views
Polygons
Polygon--stars
Rectangles
Revolve
1 Rail sweep
Handle curves vs control point
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18
2 Rail sweep -- 1
2 Rail sweep -- 2
2 Rail sweep -- 3
2 Rail sweep -- 4
Pipe -- 1
Pipe -- 2
Pipe -- 3
Loft
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REFERENCE Bernstein, P. (2008): Building the Future: Recasting Labor in Architecture, Peggy Deamer. Princeton Architectural Press. pp 38-42 Iwamoto, L. (2009): Digital fabrications: architectural and material techniques . New York : Princeton Architectural Press. Kolarevic, B. (2003): Architecture in the Digital Age - Design and Manufacturing, Branko Kolarevic. Spon Press, London Rifkin, J. (2011): The third Industrial Revolution, Palgrave Macmillan, pp107-126. Scheurer, F. and 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, Englewood Cliffs, N.J. :Prentice Hall, A
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ILLUSTRATION LIST
BEIJING BIENNALE CUBE -- OYLER WU COLLABORATIVE http://www.oylerwu.com/images-beijing-biennale-cube Escapism -- Iris Van Herpen + Daniel Widrig https://blowpresents.files.wordpress.com/2011/07/picture-6.png Escapism -- Iris Van Herpen + Daniel Widrig http://www.irisvanherpen.com/ Escapism -- Iris Van Herpen + Daniel Widrig https://s-media-cache-ak0.pinimg.com/564x/05/45/e7/0545e72d3e9ee4fb30 af6ba59a4e8246.jpg FIRMAMENT --ANTONY GORMLEY, 2010 http://www.antonygormley.com/projects/item-view/id/237#p2
Reading between the Lines by Gijs Van Vaerenbergh source: https://www.dezeen.com/2011/09/09/reading-between-the-lines-bygijs-van-vaerenbergh/ ICD/ITKE Research Pavilion 2012 source: http://www.arch2o.com/icditke-research-pavilion-2012/arch2o-icditke_rp12-9/
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NON-TEACHING WEEK-- GROUP MEETING -- DESIGN DEVELOPMENT AND PROTOTYPE#2 FABRICATION
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