Ddf m4 journal yuchialim 816571

DIGITAL DESIGN + FABRICATION SM1, 2016 CONFESSION SPACE Yu Chia Lim 816571 Luca Lana, #2

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I have a confesion to make.

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Contents 0.0 Introduction

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1.0 Ideation

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1.1 Object + system analysis 1.2 Volume 1.3 Sketch design proposal 1.4 Reflection

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2.0 Design

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2.1 Design development intro 2.2 Digitisation + design proposal v.1 2.3 Precedent research 2.4 Design proposal v.2 2.5 Prototype v.1 + testing effects 2.6 Reflection

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3.0 Fabrication

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3.1 Fabrication intro

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3.2 Design development + fabrication of prototype v.2 3.3 Final prototype development + optimisation 3.4 Final digital model 3.5 Fabrication sequence 3.6 Assembly drawing 3.7 Completed 2nd skin 3.8 Further optimisation after feedback 3.9 Reflection

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4.0 Reflection

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5.0 Appendix

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5.1 Credits 5.2 Bibliography

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0.0 INTRODUCTION

The design brief is centred around a concept developed from our interpretation of personal space. The process of the design begins from ideation to design to fabrication, where the personal space concept is refined and translated into a physical form, which is then fabricated.

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1.0 IDEATION This module is about understanding the system given. In this case, the panel and fold system is chosen. By breaking down the objects related to the system (a fan), the mechanics of the system is analysed, so that the constraints and capabilities of the system can be understood.

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1.1 Object + system analysis The fan is measured by tracing it while laying it flat on a piece of paper. It is then disassembled and measured again to see if the components have changed. The plan of the paper composing the fan is wider in its unfolded state.

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The folding mechanism of the fan is not only reliant on its material but also its construction. As shown in the photo above, the blades were attached to the paper which was then pinned at a pivot at the end of the blades. This allows the fan to expland and contract in a rotating manner around the pivot.

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Rhino model

The rhino model was produced using the plans measured in the Week 1 exercise. The plans were laid in the background bitmap and traced over to obtain correct dimensions (top left). The two-dimensional fan blades were then extruded to form solids. The fan blades were then rotated around the centre where the pivot is (top centre, top right). Lastly, the paper of the fan was modelled by connecting the spaces between the blades to create a surface.

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1.2 Volume The first model was made using the paper that has been taken apart from the folding fan. The aim of this model was to produce a volume or a sense of three-dimension as the fan is somewhat a flat object.

To further explore the potential of folding shapes, more paper models are made. I really liked the patterns created by tessellations and made another model to see how it can progress from the first model.

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I experimented with the system of panel and fold by using paper to create a few sketch models that use the triangular geometry to form tessellations. I found it interesting that such a flat paper can be manipulated into a surface with dynamic curves through the triangular folds

Through experimenting with tessellations formed from folding, an interesting shape was discovered when the second paper model was twisted to form a curve.

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1.3 Sketch design proposal From the panel and fold system, these ideas were generated based on my initial idea of personal space, which is to protect the wearer from public scrutiny, to create privacy and anonimity.

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1.4 Reflection The process of drawing, disassembling, analysing and then creating sketch models and digital models had been vital in helping me understand the system of panel an fold better. The readings have also helped me gain an understanding on how to begin ‘dissecting’ the object to understand its system, such as the ‘How to lay out a croissant’ which contains straightforward, step-by-step methods on how to create measured drawings of a croissant. I followed a similar method by photocopying the object and tracing the outline photocopied.

At the end of this module, while producing the sketch designs, I started to learn about personal space through the reading, ‘Personal space: the behavioural basis of design’ by Robert Sommer which included a formula of 2 square feet around the person as a minimum for personal space. I was particularly intrigued by his behavioural studies of how people react when their personal space has been intruded, and how personal spaces change in different situations, such as in a crowded place, or a library.

After gaining feedback, I realised that my sketch design proposals have yet to reflect an in-depth thinking of personal space, and in the second module, I proceeded to develop the concept further after discussions with my groupmates.

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2.0 DESIGN

Group members: Danika Pandinata Phoebe Goh Shiyi Ping Rong Chen Yu Chia Lim

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2.1 Introduction From this module, the group members gather and share ideas from the ideation module and come to a consensus about whose ideas to use and develop from.

The personal space concept is also further examined, and the brainstorming between group members led to a new interpretation of designing around personal space.

Confession Room

by Ana Zubak

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2.2 Digitisation + Design proposal v.1 The first idea is taken from Ping Rong’s sketch design which is to protect a person in certain sensitive areas. We further evolved this idea into a wearable device that allows the wearer to control the amount of space needed between the wearer and the surrounding people.

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Up form Flat form Down form

As the context is in a crowded tram, the idea is to allow the user to manipulate its form based on his or her needs. The ‘up’ form allows privacy and protects the user from body odours. The flat form allows a bigger personal space as it extends outwards the furthest, while the down form allows other people to get closer when the user is comfortable having that person in his or her personal space.

The module chosen is a hexagonal base form which extends outwards to other hexagons. Due to its requirements of two-way folding, our experimentation failed to produce a flexible fold with the materials used (paper, card and acrylic board).

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2.2 Digitisation + Design proposal v.1 The second idea is evolved from my first sketch design from the ideation process which is to protect the user’s anonimity by creating a headpiece that covers most of the face, but at the same time allows slivers of vision through by creating gaps between the modules. We have decided to use a different module as our base module instead of hexagonal shapes. We chose the honeycomb lattice form because we liked how it is see-through at certain angles and blocks vision from other angles. We also liked the openness of the module where the folding of the strips create volume but still allows for transparency.

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2.3 Precedent research Our idea for the personal space concept is to create a space where the user can allow people into his or her personal space rather than pushing people away. Our inspiration comes from the idea of confession rooms, where one enters a space where he does not know the listener but he confesses his secrets, knowing that they are kept safe. We wanted to create a similar space where the user can interact with other people who are willing to enter the space and tell him or her their secrets. The idea is strongly based on the idea of secrecy and anonimity, which is important for both parties, the listener and the confessor.

From the precedents, the confessor and listener are often separated by a lattice screens which creates an opening for sound to go through, but still retains the privacy required.

Top left: Beauty Fullness by Sook Kim

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Top right: Confession by Arik Levy Bottom right: Confession rooms at World Youth Day in Brazil, photo by Catholic News Service

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2.4 Design proposal v.2 After receiving feedback for our first design proposal, we have decided to make our form freer and less flat to create an interesting form, space and volume within the headpiece.

The design sketches led to the final design which features a headpiece that covers the face area of the listener and the mouth area of the confessor to provide anonimity.

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The sketches above are chosen by the group as a final sketch design for the rhino model at this point of time. The rhino model (right) is then optimised by manipulating the surface created around the heads until we obtain a desired shape.

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2.5 Prototype v.1 + Testing effects

When we expanded the whole thing, due to the paper weight the whole structure bends in the centre point.

We decided to try applying the “Concertina Fold� to the bottom to help making the structure not so curvy, using the same material as the body.

But once we flip it upside down, we realized that the concertina fold works better when it’s at the top compared to the bottom.

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Testing materials: Baking paper (left) has the same properties as paper but more opaque, flimsier and water resistant.

Polypropene (right) is more rigid but quite flexible and water resistant.

Testing connections: Metal Brads (left) - Easy to install - But less resistant to force (pulling) - Looks nicer than rivet - Lighter compared to rivet.

Rivet (right) - Time consuming, difficult to install - More resistant to force (pulling) - Takes up more space than brads

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2.6 Reflection The focus of module 2 is on the design that revolves around our personal space concept.

It was a great opportunity to stretch the limits of our imagination and creativity to illustrate the purpose of our design in relation to the concept, as we are not yet considering the practicalities of the design, not until we approached the end of module 2, where we started to build prototypes and carry out tests.

Deciding on a module that can be multiplied to form a surface that fits our system and effectively communicate the purpose of our second skin had been crucial. With the help of precedents and readings from the LMS, we managed to collectively decide on the form we wanted to construct. The reading ‘Surfaces that can be built from paper’ had been particularly helpful for us to understand that a surface can be broken down into different geometries and reconstructed using those modular geometries, hence the surface being developable, as it can be ‘unfolded’ into a flat piece and ‘mapped isometrically into the plane’ (Pottmann, Asperl, Hofer & Kilian, 2007).

At the end of module 2, after receiving valuable feedback from our tutors, we begin to consider how to carry forward and redesign so that we can actually fabricate it.

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3.0 FABRICATION

Group members: Danika Pandinata Phoebe Goh Shiyi Ping Rong Chen Yu Chia Lim

3.1 Introduction At this stage, we are mainly focused on creating prototypes and resolving issues that are related to actually fabricating our design instead of making any major changes to the design or concept.

Based on our personal space concept of having a moving confession room, the rhino model produced portrayed a single person wearing the designed piece but after the feedback from the M2 presentation we have decided to split the design into two so that the wearers will meet and connect to carry out the function intended. We were also concerned about the way the structure can be supported on the body, as well as its flexibility, ability to maintain its shape and its durability. There was also a need for anchor points on the body to ensure that the structure holds on its own.

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3.2 Design development + Fabrication of prototype v.2

These are sketches produced after the feedback, with major changes being the listener’s and speaker’s pieces being separate from each other and connected when desired. To increase the comfort of the wearer, more headroom is provided.

Supports were also considered in this sketch as the design extends down to rest on the shoulders.

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Our first laser-cut prototype was produced and transparent polypropolene was chosen as a material due to its flexibility. As it negates the desired effect of blocking vision due to it’s opacity, we attempted to cover the polypropolene with a reflective foil card.

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The rhino model is produced from refined design sketches after receiving feedback from M2, such as the separate head and mouth part, the increased headroom for the head piece and the anchoring of the structure on the body.

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3.3 Final prototype development + optimisation

Optimisation of connections One of the major concerns of this design is the connections between the various pieces. Rivets and different lengths and orientations of metal brads have been tested for their strength, flexibility and buildability. We have decided on metal brads of 19mm and orientated to be perpendicular to the running strips. This reduces the resistance produced by the brads against the shape when it is connected in parallel to the pieces.

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To connect the headpiece and the mouthpiece, we have tested on magnets on the polypropolene, but the magnets (above) were not strong enough to withstand the tension between the strips. Velcro was chosen instead due to its strength. We hid the velcro strip on the inside of the headpiece (right above) and create a loop using velcro on the mouthpiece (right centre).

The loop is then attached to the velcro strip to create the connection of the mouthpiece and headpiece (right below).

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Optimisation of sensory effects We tested with holographic card and reflective foil card, and we though that the reflective foil card produced stronger visual effects. The reflection of light can be bedazzling especially if the wearer is in conditions which has bright lights.

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Optimisation for fabrication Our initial module that is repeated throughout the design was created by two curves curving inwards (left above).

After repeating the module (left below) we then fabricate by dividing the module into strips in one direction from the rhino unrolling process. However, we modified the curves so that they face outwards (right above) as this allows the place of holes onto the rhino model (right below), which enables the fabrication process to be easier and faster as the location of the holes are marked. As the unrolled strips do not have holes at regular intervals due to the strips conforming to the planar surface, this enables us to know where the joints are located.

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The design in rhino is produced by first creating a surface (image 1, 2) and then a network surface grid (image 3)which can be tweaked and adjusted to modify the surface (image). After obtaining the desired shape, a bounding grid is created around the surface (5). These two grids allow the panelling tools to fit the modules onto the curves of the surface (6).

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Optimisation of material usage Our second prototype was the mouthpiece laser-cut on a 0.38mm thick transparent polypropolene.

Due to the inherent qualities of the material used (transparent polypropolene is less stiff, more flexible) and the thinness of the material, the mouthpiece failed to produce the shape modelled in the rhino design as it lacked the stiffness for it to hold its shape.

Another problem is that the laser cut produced obvious burnt marks on the transparent prolypropolene.

For our final model we decided to use black polypropolene in 0.6mm thickness instead. And the results as below showed that this material is more able to hold its shape, due to its thickness and the fact that black polypropolene is stiffer and less flexible than transparent polypropolene.

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3.4 Final digital model The digital model is finalised after we have decided that this is the optimum shape that fits the design concept that we have developed at this stage.

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3.5 Fabrication sequence

1. Pieces of laser-cut polypropolene were collected and labelled according the rhino model to enable assembly.

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2. For the headpiece which is covered in foil card, contact adhesive is sprayed on both sides of the polypropolene which will be sandwiched between the foil card

3. The glued strips are cut out by hand and relabelled. The holes are also punched through again through the foil card.

4. The metal brad is pierced through the slit at the joints of the strips

5. It is then pressed flat against the polypropolene, perpendicular to the length of the strips.

6. The brads are connecting the strips at alternating holes for each strip to create the openings.

For the mouthpiece, only steps 1, 4, 5 and 6 are carried out as it is not covered with the silver foil card.

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3.6 Assembly drawing

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1. After collecting pieces from laser cut, arrange according to numbers labelled on rhino file.

2. Connect using brads at alternating points, e.g. holes 1, 3, 5, 7, 9 for the first strip, holes 2, 4, 6, 8, 10 for the second strip, and consecutively. (see enlarged diagram) 3. Repeat steps 1-2 for the mouthpiece.

4. Place velcro loop on mouthpiece and velcro strip on headpiece to enable connection between the two pieces.

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Left: final model of headpiece in neutral state, Right: Final model of mouthpiece in neutral state

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3.7 Second skin

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3.8 Further optimisation after feedback After the module 3 presentation, having received feedback from various tutors, we have decided to change the material for the mouthpiece so that it uses the same material as the headpiece which is the foil card instead of the black polypropolene. We decided to make this change because it gives the two separate pieces a better sense of unity and shows a better flow as the pieces are connected together.

before (top), after (below)

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Photos after optimisation

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3.9 Reflection At the end of module 3, we have finally managed to fabricate our design and though it definitely has room for improvement, we felt like it does fulfil our design purpose to a good extent. However, there are issues that came up when we tried to fabricate our design, such as how the digital model does not take into account the stress on the materials, or consideration of how gravity acts on it. With these problems we have encountered, we decided not to force our model to conform to the digital design but instead allowed the material to work its own magic and create the form. Hence, for the mouthpiece, we changed the orientation of the model so that the strips go horizontally instead of vertically like in the rhino model we intended.

Our fabrication process had a lot to do with digital fabrication as we used a digital model and used laser-cutting method for fabrication. As the volume of our second skin is made up of individual flat 2D pieces of material, we decided to go with the subtractive method of laser cutting, as learned in the reading ‘Architecture in the Digital Age - Design and Manufacturing’ by Branko Kolarevic. The importance of digital fabrication is deeply felt throughout the fabrication process as we had also manually cut all of the pieces to laminate the polypropolene with the reflective foil card because the material cannot be laser cut. It was a tedious and tiring process, however, we were still aided by the fact that we only had to trace those pieces which are already laser-cut.

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4.0 REFLECTION The entire process from ideation to fabrication had been a steep learning curve for me as I had never learned about digital fabrication before.

This subject had reinforced the importance of digital technology in the fabrication process and the limitations that come along with it.

We went with the reverse engineering method, where we create a desired form in a digital model and fabricate accordingly, instead of trying to physically make a model from the beginning. This contributed to some of our problems, as the materials, gravity, force and stress are not components that are computed in the digital model. However there are some successful outcomes as the strips managed to form the curvature just as we intended for the headpiece. The mouthpiece had not produced the shape we desired due to the limitations of the digital model but we decided not to force the design on the material and go with the flow.

In response to the reading ‘Building (in) the Future’ by Marble, S. (2008), I think that there is a good degree of design risk in our project, as we have encountered problems with fabricating the final model in the precise way we intended the design to be. In the process of assembling and laminating the strips we were also heavily involved, bringing in the essence of ‘crafting’ as there is a lack of machine-like precision in our model. However, digital technology has allowed us to simulate a model that helps us

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produce a modular form just by creating a simple surface, even though there are limitations, such as not knowing the ‘resistance of material’ as stated in the reading, which, traditionally, is developed through experience.

The authors believe that even though digital technology has its limitations, and a lack of human touch and authencity in the production, resulting in ‘mass production’, it is still a valuable tool in mediating the gap between abstraction and construction that is present in designers or architects, whom have been less involved in the construction or fabrication process. I agree with this as in module 1 and 2 we have been able to glimpse what the design would look like in 3D through rhino modelling evn without producing prototypes or physically building it.

“The crucial issue becomes when to utilize numeric processing and when to utilize human imagination” stated Marble (2008, p. 42), and I believed that when our group decided that instead of forcing the material to produce the form we designed and allow the material to form its own shape, we had deviated from using numeric processing to produce the second skin. Overall the process had been difficult but satisfying as the seeing the results of our hard work come through had been worth all the time we spent on this subject.

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5.0 APPENDIX

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5.1 Credits

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5.2 Bibliography Reading bibliography Enric Miralles,Carme Pinos, 1988/1991, “How to lay out a croissant�

El Croquis 49/50 Enric Miralles, Carme Pinos, En Construccion pp. 240-241 Heath, A., Heath, D., & Jensen, A. (2000). 300 years of industrial design : function, form, technique, 17002000 / Adrian Heath, Ditte Heath, Aage Lund Jensen.

New York : Watson-Guptill.

Cheng, R. 2008. Inside Rhinoceros 4 / Ron K.C. Cheng. Clifton Park, NY : Thomson/Delmar Learning, c2008.

Sommer, R. 1969. Personal space : the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J. : Prentice-Hall, c1969.A Scheurer, F. and Stehling, H. _2011_: Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 _4_, July, pp. 70-79 Asperl et al, 2007,Surfaces that can be built from paper / In H.Pottmann, A.Asperl,M.Hofer, A.Kilian (eds) Architectural Geometry, p534-561, Bentley Institute Press Kolarevic, B 2003, Architecture in the Digital Age - Design and Manufacturing /Branko Kolarevic. Spon Press, London Marble, S, 2008. Building the Future: Recasting Labor in Architecture/ Philip Bernstein, Peggy Deamer.

Princeton Architectural Press. pp 38-42 Rifkin, J 2011, The third Industrial Revolution. Palgrave Macmillan.pp107-126

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Precedents/ Inspiration Images

Confession Room - Ana Zubak. date unknown (retrieved from http://www.wooloo.org/exhibition/ entry/185742)

Confession rooms at World Youth Day in Brazil Catholic News Service. 2013 (retrieved from http:// www.catholicworldreport.com/2013/07/28/morestriking-pictures-from-world-youth-day/)

Beauty of Fullness - Sook Kim, 2014 (retrieved from http://readthetrieb.com/index. php/2014/02/03/sook-kim-for-womenfashion-news-2014-beauty-of-fullnesscollection/?lang=en)

Confession - Arik Levy. 2010 (retrieved from http://www.designboom.com/design/arik-levyconfession/)

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