SECOND SKIN
THE EMBRACE ENVS20001 SM1, 2016 SZEHARLAIGNE CHING YEN 720182 Luca Lana
CONTENT INTRODUCTION 1 IDEATION 8 DESIGN
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FABRICATION
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REFLECTION
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APPENDIX
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0.0 INTRODUCTION To be present in the arms of the one you trust, the warmth within a single prominence, “The Embrace� encapsulates this moment in time as two entities come together to form a space of intimacy and protection. Fabricated to express the significance of opening your personal space to another, this journal will highlight and reflect on the process of development of the design, from concepts of Personal Space, material system development of unconventional materials and towards the fabrication process of the units and the whole.
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1.0 IDEATION “The work of both the architect and the industrial designer is placed in the very middle of the triangle of art, science and technology, and this is the main reason for both its fascination to those who practice it, and its complexity...� - 300 Years of Industrial Design
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1.1 OBJECT The hand held fan, while chose intentionally, did not directly inform the final fabricated design, however it gave profound understanding towards the intended skin and bone system required. There is a respec towards the observation and recordings of the objects, however it must be also done through precise photography, essential to capture the textures of the object (300 years of industrial design, 2000). The reading suggests that black and white photos are better for observing, however, I find that there is still an important factor on coloured photographs in order to truly feel the essense of the object itself. There was an importance of form over other qualities of a subject in its analysis (How to layout a croissant, 1988). The fan was thus flattened and photocopied in a resting open state. This helped me effectively achieve the possibilities of measuring the angles and lengths of the fans components accurately, free from parallax error. Afterwards the fan was then remodelled onto Rhino to display it’s profile in actuality. The transformation of a 3-dimensional rectangle into a more 2-dimensional planar form further inspired my final design by incorporating a combination of both volumetric and planar shapes in regards to it’s specific functions. 10
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1.2 SYSTEM ANALYSIS The design of the hand held fan incorporates a skin and bone system by utilizing rigid wood structures that are held together by a skin system using a flexible material such as that of cloth. The object functions through rotation, as each of the rigid structures rotate to form the enclosed shape, with the rotation being limited by it’s association to the cloth. It was through the distinction of two seperate materials that I considered it to be skin ans bone. However, the fan can also be considered as a panelling and fold system, as the fan expands through the sticks acting as panels on top of each other that is expandable by pulling out one end of the system. This ensures a compact and transportable materials that transforms whenever the user requires it to. I have also trialed by experimenting through deconstructing the hand held fan which showed that there is a possibility of development of prominent volumetric shapes that first have to go through deconstruction. I believe that this principle of deconstruction is a fundamental aspect in truly understanding objects, and possibly even materials that one could work with. Only through deconstruction we are then able to construct something new with the parts. 12
TOP VIEW
PERSPECTIVE VIEW
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1.3 SKETCH MODEL/VOLUME The sketch models were designed to attempt the incorporation of volume and movement. The sketch model represented above is directly inspired by that of the fan structural system, the volumous circular interpretation of the object was caused through the motion of a minimal surface whereby the structures would bend to form a spherical form within. The idea of movement within objects is something that I find very interesting but complex in understanding fully. Nonetheless, I find that by creating sketch models and prototypes, I am capable of understanding a system better. There is a fundamental difference between working through drawing sketches of 2-dimensional models as well as creating an object in real life to test and observe. Furthermore, the ideas of reality can also inspire structural mechanisms in design, such as that of the wing like structure demonstrated on the right. Thus I learned that when the intended effect is that of movement, it is much more efficient to work with an object in reality as it would be desirable to analyze the transition of effect, from one stage to another,
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1.4 SKETCH DESIGNS Sketch designs were then created in an attempt to encompass both the material system and the concept of personal space. All three designs consists of the idea of movement and transformability whereby the system is capable of altering itself with the will of the user, either to create a sense of protection through shielding themselves, or by causing an alarming threat. There is a wide variety upon the function and intended aim of the designs, however, I could have explored other structural and possible mechanical systems. Perhaps what limited my idea of structure was the preconceived ideas I have already made during my sketch models whereby my sketch designs were based upon. Thus, the sketch designs intentions at this stage was a design for its functionality at best, rather than designing for structures that can be further developed and explored. The most engaging design would be that of “The Armor� as it is the one that stands out by incorporating two individuals, unlike that of the other two designs that only require one. The functional concept provided a basis of design that was developed throughout the rest of the project.
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2.0 DESIGN
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2.0 DESIGN “Personal space refers to an area with invisible boundaries surrounding a person’s body into which intruders may not come.” - Robert Sommer
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2.1 DESIGN DEVELOPMENT The team has decided upon following my third design with the concept of having two people within the model. The conceptualization of the design is materialized through an acquired personal space that is achieved by having two individuals of close rapport (for instance a couple) within a special moment such as that of an embrace. Lovers are more likely to want conditions whereby they can reduce the distracting external cues and to permit the two to remain close to one another in order to subtract ‘nonpersons’ from their space (Sommers, 1969). The design of this stage will thus respond to the notion of personal space that is wanted through this context, with the needs of privacy and protection that could be acquired with it. The design development required me to develop skills that would be essential towards the process of 3-dimensional modelling within Rhino, however this proved to be a challenging process. This is due to several factors such as a diagramatic design, unmeasured mechanics, as well as limitations within the Rhino program. as the design developed during this time was more diagramatic. Furthermore, the Rhino tools did not achieve the intended effects of physics and weight that, in reality, would come as possible issues towards the model. Thus, I was required to create both 2-d hand sketches and prototype models.
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2.2 DIGITIZATION + DESIGN PROPOSAL v.1.0 I then digitized the third design within a 3-dimensional context. The design is rerived from having a rib cage like skeletal system that would come over the user and would have adequate space to involve another individual. The intended materials to be used for the design was undecided, however, at the time it would have been possible with a rigid material system such as wood. It would thus also required to incorporate a structural system that would effectively create the movement as well as sustain the weight of the wing like skeletal structures. To some extent, the aim at this stage was too focused towards creating an actual model of the sketch design. When we realized this we then shifted our focus towards looking at possible materials and other potential design forms. 22
We then attempted to realized the design proposal through the use of understanding the possible mechanics and structural components we may need. The mechanisms that were proposed involved the possible use of fabricated wood joint materials as well as fabric as the use of the skin system with the addition of pin and joint systems. However, this design proved to be very difficult to fabricate as it would require an immense amount of force to create the effect of movement. Thus it was important to explore other materials further rather than utilizing rigid structures.
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2.3 PRECEDENCE RESEARCH The precedence research involved 3 main designs namely: Cant and Wont Dress, Bubelle Blushing Dress and Veasyble. The three designs have thus further inspired the conceptualization of personal space as a form of expression through the possibilities of movement through the integration of transformability by morphing into the needs of the individuals involved as well as utilizing a more fluid organic shape that would conceptualize the form of the design. Different aspects of the various precedences inspired rather than directly narrated our designs. The Bubelle Blushing Dress inclined us to try and reverse engineer a more organic shape and form towards our model, Cant and Wont Dress informed us of the importance of what the model would be expressing for the user and Veasyble encouraged us of the basis of our concept of having two individuals being in a single space. We could have taken the precedences further by creating more research and applying direct correlations of influence to the designs. However, we felt that it would be essential to not enable the precedences we have chosen to empower our design as one of our personal goals was to create a design that was unique in terms of form. 24
VEASYBLE
CANT AND WONT DRESS
BUBELLE BLUSHING DRESS
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2.4 DESIGN PROPOSAL v.2.0 By developing the central ideas such as: incorporating 2 individuals, organic form as well as movability/transformability, the second design proposal was then generated to address these key principals. The second design incorporates having two seperate individual components of the system that will only be capable of transformability when the two modules come together. This is due to further analysis of the body that suggests that in an embrace, the two individuals would be more exposed in the head, back and side profile areas. The gender modules then would match and create the holistic component and create an integral system that creates the baseline of “The Embrace�. The new design proposal was more efficient in terms of its possibilities of fabrication, in that it was less of a system that would require complete precise fabrication such as that of the sketch design we previously followed. On the other hand, we allowed ourselves to try and explore other materials to provide a more diagramatic design, which I believe would be better to transform and develop in the progression of the stages and then eventually become more systematic in terms of design.
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2.5 PROTOTYPE V.1.0 + TESTING EFFECTS The material we thus used was a combination of: car shade metal frames (bone), nylon pantyhose stockings (skin) and fishing line (mechanism). The combination of materials created the intended effect in design proposal v.2.0. To some extent, it was difficult to determine the movement and behavioral characteristics of the prototype as we did not have much understanding of the components at this stage. The different materials when combined created ‘units’ that had a need for “object analysis” as done in Module 1 as the combined object is an entirely new entity. Nevertheless, the goals of this stage was achieved and we managed to create a prototype that was fluid, organic and transformable.
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3.0 FABRICATION “Personal space refers to an area with invisible boundaries surrounding a person’s body into which intruders may not come.” - Robert Sommer
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3.1 FABRICATION INTRODUCTION
The fabrication and design process at this stage involved several developments of our first design in M2 which would not have been achieved without further understanding of the materials that we chose. Most of the fabrication aspect involved hand-crafting the modular units, with the exception of bracing components that had to be fabricated in the workshop. This stage concludes our finalized design and completed model. The principles decided in M2 were brought forward into the fabrication stage as we utilized members of the team of the opposite sex for the specific modules of female and male. It was also required to measure the curvature of the two individuals as to provide a bracing that was efficient and comfortable to wear. Furthermore, it would not have been possible to fabricate the bracing pieces if it were not for the design programs such as Rhino, whereby it proved to be essential at this stage of the design.
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3.2 DESIGN DEVELOPMENT & FABRICATION OF PROTOTYPE V.2.0 The development of the design required further understanding of possible materials that could have been made to achieve the effects intended. Other materials such as latex, stretchy fabric, as well as other bendable wire were tested for effect. It was found that the original materials used (nylon stockings as skin and metal wire strips from car shades) created the best effects and requirements of our design. As such, we stuck to our original materials and continued to understand the chosen materials further within our design development.
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Some of the designs proposed included our similar unit system connected together by fishing lines, this caused better control for the units during movement. Furthermore, a 3-dimensional design of the units were also discovered, by intertwining two of the flat metal wire pieces together and fitting the then combined unit into the nylon stocking. We then decided to develop the 3-dimensional shape onto the next stage.
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3.3 DESIGN DEVELOPMENT & FABRICATION OF PROTOTYPE V.3.0 With the decided materials, further mechanical and structural experiments were conducted to understand the materials thoroughly. The limitations of the materials were calculated, these included the maximum stretch factor of the nylon stockings as well as the behaviour of the metal wire frame when in compression. By thoroughly understanding the materials that we would be using, it was possible to then maximize the potential of the materials within the design. We concluded that the unit materials would be designed with both 2-dimensional and 3-dimensional shapes. The prototype of the units were optimized in it’s design through strategic placements of noggings and bracings whereby when the string system is pulled from one end, the unit is able to curve. The curvature is thus important to develop the movement of the design, utilized in both of the modular systems. The systemized design thus allows for precision of movement and reduced the risks of the units moving in random directions, such as what occured in Module 2. However, standardizing the unit system, although it decreases the amount of external variables that may disrupt the system of the design, it lacked variations within the units which could have been created to succeed a more complex configuration.
POINTS WHERE STRING SYSTEM IS ATTACHED
UNITS WHEN STRING SYSTEM IS UNPULLED
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UNITS WHEN STRING SYSTEM IS PULLED
Stretch factor: pull on y-axis: 2.3 stretch factor pull on x-axis: 1.75 stretch factor
metal frame diameter: 2660 flatspringmetalframe. Bending is distributed throughoutwhenload is applied. compressionforce compression on the x-axis causes frame to want to be parallel towards the z-axis, causng the flat end to face towards the z-axis.
CROSSING metal frame desires to intercross with the opposite section when metal frames are elongated, may be due to the material trying to go back to its original form.
More material along the y-axis constritutes to a longer stretch. The x-axis has less material and thus does not stretch as much as the other dirtection. There is also more load along the y-axis of the metal frame
Frames did not show a largeamountofresistance whennoggingsareplaced at intersecting points.
Frame goes back to it’s original shape when noggings are cut out.
Stress = Force/Area
compression forces
smaller area = more force more area = more stress
wider end of strip Structural conclusion: - Distribution of forces within the internal strip of the metal is distributed on the y-face.
The transformation is limited by the stocking skin component. Placing two frames perpendicular towards one another.
Ability to transform in shape
- Forces unmanipulatable on the z-face as bending does not occur - Forces are manipulable on the x and y-faces as it allows bending stress and distribution of loads. - Forces translate onto the whole form.
Skin must be attached to the frame on its limited (intended volume) as pulling the frame may cause skin to tear.
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3.4 FINAL DEVELOPMENT PROTOTYPE + OPTIMIZATION The singular arm elements of our design now consists of a three dimensional unit that is split into three parts, labeled the bud, stem and root. The bud consists of a four sided 3d shape that is fixed in middle point, inhabiting the frontal and visual section of our design. The stem incorporates a three sided three dimensional shape, braced by triangular noggin module in centre section. This element is fixed on both ends and experiences the greatest movement when pulled. The root of the design is a two dimensional, planar shape that is completely fixed and holds the pulling aspect of design, located at back of piece where it is then attached to the body. The triangular module is constructed using foam board, creating an equilateral triangle with divots for the bone, creating a regulated shape. The differences of dimension is consequential to the different effects and needs that would need to be achievable, by placing the pyrimidal 3-dimensional shape in the middle, whereby most of the movement would occur, we were capable of designing the intended motion of moving inwards rather than the unit moving into a unspecified direction. Furthermore, a planar system utilized in the back of the individual would involve a smaller surface area that would need to be braced and fixed into place.
The most visibal end of the unit and comprises of the 3 dimensional four sided shape. Allows a volumous formation to occur throughout both of the modules. This part of the unit experiences the most transformation when the moving mechanism i s utilized. Is made of a 3 dimensional 3 sided form, braced by a triangular node in the middle.
Fixestheunitontothebackplatesandhead platesofthetwomodules,iscomprisedofa planarsurfacethatallowsthepullingmechanism to occur in a single plane/direction.
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By adding a three dimensional aspect to our unit design, a larger and more complex form was then decided on for both the head piece and the back piece. This provided the ability to create a more private and intimate space with our design. As the two people come together in embrace, the headpiece and body module design converges together to created a confined surrounding space. Ultimately, a protective barrier can be achieved with the encapsulating space through the design of greater volume which would not have been executed efficiently with the previous 2-dimensional unit in the previous prototypes. To achieve a uniform look it was then required for standardization of sizes, interlocking dimensions as well as the controlled direction of the units movements. Furthermore, a sort of bracing system was needed to create a connecting point between the units towards the individuals body.
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3.4 FINAL DEVELOPMENT PROTOTYPE AND OPTIMIZATION
The design of the bracing system that held the unit pieces towards the body was only possible through the use of precise computational programs and fabrication processes (lazer-cutting). This is perhaps due to the fact that we decided on utilizing the possible materials that could be fabricated (MDF) as well as reducing the amount of time that it would take to fabricate the object by hand. Furthermore, the use of digital programs allowed me to then precisely decide on where the units will be held around the body through the design of the bracing system. Such a factor that makes it more easily designed through fabrication computational tools is due to the fact that the bracing pieces are static pieces rather than transformable. As such, the design of the head and body braces proved to be a success as it stayed in place and proved to be comfortable for the models that were involved in wearing the final pieces. Thus, fabrication tools provided as necessary equipment during the final stages of fabrication rather than the intial stages of design
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EXAMPLE OF FEMALE BACK MODULE
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3.5.1 FINAL DIGITAL MODEL - BACK PIECE
ISOMETRIC PROFILE
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FRONT PROFILE
TOP PROFILE
SIDE PROFILE
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3.5.2 FINAL DIGITAL MODEL - HEAD PIECE
ISOMETRIC PROFILE
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FRONT PROFILE
TOP PROFILE
SIDE PROFILE
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3.6 FABRICATION SEQUENCE UNIT FABRICATION
Duct taped onto noggings of 2 frames
Root End is duct tape for security
Bud head is secured with plastimake node
Wrapped with duct tape for aesthetics
Triangular nogging placed onto middle
Fishing line strung through noggings
Frame structure fitted onto stocking
Single completed unit
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MODULE FABRICATION
Hand fabricated13 units
Assembled laser cutting braces
Strung fishing line through holes
Fabricated back module
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3.7 ASSEMBLY DRAWING
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3.8.1 COMPLETED SECOND SKIN - BODY PIECE
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3.8.2 COMPLETED SECOND SKIIN - HEAD PIECE
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4.0 REFLECTION
Craft is known as a process of mediating between tools and objects and between design from process of imagination and production as a process of technique which always involve a degree of risk (Bernstein, 2008). Risk was involved within the project as the unit components, which make up the basis of our design, is all hand made. The limitation of computation lies within the program available to us at the time, also supported by the lack of knowledge of including the physics of forces and gravity that are quintessential towards our design outcome. A level of degree in craftsmanship was thus required towards the final progress of the project, meticulous standardized measurements were also required to maximize the potential control (certainty) within the system design. However, the different levels of risks that took place in different stages of the design process provided the basis of allowing us to understand the conditions of the field that we were trying to achieve.
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In Module 2 we catered our design at the time to address a very diagrammatic and abstract concept in form, without the need of assessing risks. This allowed us to achieve a better understanding of the non-conventional materials that we were attempting to use as there was a lack of information regarding the material behaviour (flat wire frame, nylon stocking) available within our resources. It is the back and forth shift between abstract design, real material and prototyping that allowed us to take a step further in the design process. However, the use of nonconventional material combined with the basis of an abstract design proved to be very difficult for us to utilize computational tools to
its full potential. Although the programs provided to us were efficient in providing a diagrammatic form of the potential design that we were trying to achieve, it was not possible for us to demonstrate the complex form of movement and transformation of the modules from one state to another. The design of a movement effect could only be accurately analysed through a considerable number of prototypes and fabrication stages. Proceeding towards Module 3, we thus reduced our focus towards the intricate details of the real material, as such we could then predict the behaviour and characteristics of developed designs during this stage. Through coherent experimentation and deductive analysis of the materials, we determined the possible risks, variables, limitations and requirements of the system and advance specific design details to reduce these factors. These included the design of noggings at places where the metal would buckle and placing bracing materials to create a consistent shape in the units. We aimed to create a strong control and reduce the impact of risk through standardizing the unit components. To some extent, the fabricated units were not accurately made due to the units being hand-crafted and therefore having a degree of error. Nonetheless, the two modules worked seamlessly when placed at uniform positions. The use of back and head bracing pieces, designed by computational devices, that connected the units towards the users reduced the possibilities of the risks and helped achieve the entire form of the two modules.
Overall, the project was a success in terms of its fabrication and development towards the final intended design. It would be possible to achieve a more certain design if there was knowledge in using more computational devices whereby it was possible to include reallife physics into the program. Standardizing the units in its design allowed a strong control onto the behaviour of the units, however, it would have been interesting to include a variance in the design of the distinct units which would then create a more complex behaviour when transformed using the movement as the intended effect. The use of homogenized material systems also allowed quick and fast fabrication as it was created through repetition of the same design. On the other hand, other material systems could have been explored further and possibly enhance the effects of the design to be further developed.
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5.0 APPENDIX CREDITS Di.W 21 sketches 22 research 31 drawing 32 photos 33 photos 38 scan 44 photos
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Lauren.H Maddie.G
BIBLIOGRAPHY Heath, A., Heath, D., & Jensen, A. (2000). 300 years of industrial design : function, form, technique, 1700-2000 / Adrian Heath, Ditte Heath, Aage Lund Jensen. New York : Watson-Guptill, 2000. Enric Miralles,Carme Pinos, “How to lay out a croissant” El Croquis 49/50 Enric Miralles, Carme Pinos 1988/1991, En Construccion pp. 240-241 Sommer, R. (1969). Personal space : the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J. : Prentice-Hall, c1969. Building the Future: Recasting Labor in Architecture/ Philip Bernstein, Peggy Deamer. Princeton Architectural Press. c2008. pp 38-42 Design, Philips. “Bubelle the Emotion Sensing Dress of the Future.” http://www.talk2myshirt.com/blog/archives/335. GAIA. “Veasyble.” http://www.veasyble.com/whoeng.html. Laroche, Simon. “Neutralité : Can’t and Won’t” http://yinggao.ca/interactifs/neutralite--cant-and-wont/.
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