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Contents:

1.0 Ideation 1.1 Object: 1.2 Object + System Analysis1.2 Volume1.3 Sketch design proposal

2.0 Design2.1 Design development intro2.2 Digitization + Design proposal v.12.3 Precedent research2.4 Design proposal v.22.5 Prototype v.1+ Testing Effects

3.0 Fabrication 3.1 Fabrication intro3.2 Design development & Fabrication of prototype v23.3 Design development & Fabrication of prototype v33.4 Final Prototype development + optimisation3.5 Final Digital model 3.6 Fabrication sequence3.7 Assembly Drawing3.8 Completed 2nd Skin

4.0 Reflection.

5.0 Appendix5.1 Credit5.2 Bibliography

6

1.0

IDEA

TIO

N

7

RECONFIGURED THE EGG CUTTERTHE EGG CUTTER COULD BE RECONFIGURED INTO

A SERIES OF CIRCULAR AND HORIZONTAL SECTIONS WHICH CREATE NEGATIVE SPACE -PROFILE.

7

8

-IDEATION-1.1. OBJECT M1

MATERIAL- BODY: POLYPROPYLENE (GOLD / HEAT RESISTANT TEMPERA-TURE -20 DEGREE~120 DEGREE)- BLADE: STAINLESS STEEL

Unit: Millimeter

THE ABILITY OF THE STEEL BLADE IS TO TRANSFORM AND CHANGE THE ANGLE TO INCREASE ITS FUNCTIONALITY. AS THE CURVED GAP IS DESIGNED TO SET THE EGG IN THERE, THE EGG IS ABLE TO BE CUT IN SLICES EFFICIENTLY. THE FUNCTION IS TO USE POSITIVE AND NEGATIVE SPACE.

EGG CUTTER IN MOTION0°-180°

SUBJECTEGG CUTTER-SQUARE

DIMENSIONLENGTH OF THE WHOLE EGG CUTTERBASE, 2103MMCUTTER-SQUARE, MAX, HEIGHT, 257MM, MIN, HEIGHT, 220MM.

METHOD OF TAKING MEASUREMENTI HAVE USED SERIES OF METHODS TO TAKE THE MEASUREMENT.THE BEST PRECISE WAY TO DO IT IS TO PHOTOCOPY THE OBJECT IN PLAN VIEW AND TRACE IT AT THE SCALE OF 1:1. I TOOK TWO COPIES WITH THE OBJECT AT TWO CIRCUMSTANCES, ONE IS IN OPENED STATUS, THE OTHER IS IN CLOSED STATUS. IN WHICH, DIFFERENT LENGTH OF THE OBJECT OCCURS. THE MAX LENGTH IS 2103MM, AND THE MIM LENGTH IS 1018MM.HOWEVER, THIS METHOD WAS NOT AP-PLICABLE TO MEASURE THE SPHERICAL AND VOLUMETRIC PARTS. FOR THE ELEVA-TION AND SECTION, I USED STEEL RULER TO TAKE THE OTHER MEASUREMENTS SUCH AS THE DIAMETR OF THE BLADE AND THE DEPTH OF THE CUTTER-CENTRAL SQUARE TO DRAW IT IN AUTOCAD IN THE SCALE OF 1:1.

DIGITAL MODEL OUTPUT

9

-IDEATION-1.2 OBJECT ANALYSISM1

PARTS AND JOINTSTHE ROTATION OF THE JOINT ALLLOWS THE STAINLESS STEEL BLADE TO MOVE FROM 0° TO 180° AS THE TRANSFORMATION OF THE BLADE ENABLES THE STEEL WIRE TO CUT THE EGG IN PIECES.

X 2

X 2

X 2

X 8

Unit: Millimeter

10

SKETCH MODEL CONCEPTBY USING NOTCHING METHOD, THE IDEA OF POSTIVE AND NEGATIVE SPACE IS USED IN THE SKETCH MODEL.

PLAN VIEW

ISOMETRIC VIEW

LEFT VIEW SCALE 1:5

RIGHT VIEW

-IDEATION-1.3 VOLUMEM1

THE CONNECTION OF THE TRANSLUCENT MATTE PLASTIC PAPER IS BY INSERTING THE TWO PANELS. THE STRUCTURE IS STABLE AS THE MEMBRANE NOTCHED TOGETHER.

PERSONAL SPACE HAS CONNECTIVE POINT WHICH REFERS TO THE CONNECTION WITH OTHER PEOPLE IN THE SOCIETY.

THE CONNECTED POINT

THE STACKED MATTE PLASTIC PAPER FORMED A WAFFLED-PATTERN CUMULATIVE VOLUME. THE CONCEPT OF CUMU-LATE VOLUME CAN BE APPLIED TO THE PERSONAL SPACE-SELF PROTECTION & SECURITY.

CUMULATE VOLUME

11

RIGHT VIEW

-IDEATION-1.3 SKETCH DESIGN PROPOSALM1

TRANSPARENT /DEPLOYABLE/LAYERS/

CONNECTIVE

LAYERS /CONTRAST /PROTEC-

TION OF PERSONAL SPACE

THE INSPIRATION OF USING THE CROSSING LINE AND THE INTERSECTION BASED ON THE CUTTER-SQUARE CENTRAL PATH TO CREATE NEW PATTERN AND VOLUME. AT THE END OF THE SERIED PANELS, THERE’S APPLICABLE SPACE TO LOCK THE ENTILE STRUCTURE . THEREFORE, DEPICT THE PER-SONAL SPACE AND HAVE A FEELING OF COMFORT .THIS CONCEPT MAKES THE PERSONAL SPACE EXTRAORDINARILY VISIBLE TO OTHER PEOPLE AND CLEARLY DEFINED THE INDIVIDUAL DISTANCE. ON THE OTHER HAND, AS THE PROPERTY OF THE MATE-RIAL IS TRANSPARENT, THERE’S A SENSE OF OPENESS TO THE OTHERS.

VISIBILITY /TRANSPARENT/ INTERSACTION

THE IDEA IS TO USE THE MOVE-MENT OF THE STEEL BLADE AND ITS REFELCTIVE SHADETO CREATE SERIES OF TRANSPARET PANELS AROUND THE SUBJECT. IN THE WAY OF FIXED CONNECTION, THE PANELS CAN BE WARPPED AROUND THE NECK LIKE SECOND SKIN. PEOPLE FEEL SECURE WHEN THE PERSONAL DISTANCE CAN BE SEEN. HOWEVER, IF THE STRANGERS COME CLOSER AND REACT INOFFENSIVE, THE ORIGINALLY CLOSED PANELS CAN BE OPENED UP AS THE PANELS CAN BE DEPLOYED EASILY BY CON-NECTIVE JOINTS.

THE IDEA IS TO UTILIZE THE SHADED SPACE TO REPRESENT THE OFFENSIVE SCOPE AND INCORPORATE WITH THE NEGATIVE SPACE TO LAYER UP AND FORM A VOLUME. THE JOINTS IS USED BY STACKING TO THE GAP FOR EACH PIECE OF PLANE. THE HALF-OPEND STRUCTURE WRAPS AROUND THE LEFT SHOULDER TO AFFORD PROTECTION.THE POSTIVE SPACE OF STRUCTURE DEPICTS THE WAVES OF BOUNDARY. IN CONTRAST, THE NEGATIVE SPACE OF STRUCTURE REPRESENT THE OPE-NESS TO THE OTHERS. THIS CAN BE CONSIDERED AS CONTRADICTION, BUT ALSO CAN REFER TO THE INFLU-ENCE OF THE GENDER, CULTURE, ENVIRONMENTS ETC.

12

2.0

DES

IGN

JIA

YUN

KE,

HO

I YIN

HO

(6

2140

9, 6

6210

9)

13

-DESIGN-2.1 DESIGN DEVELOPMENT INTROM2

HUMAN EMOTION TEMPERATURE, 2014

PEOPLE ARE AWARE OF THEIR PERSONAL SPACE BECAUSE WHEN THE SPACE IN INTRUDED BY OTHERS IT TRIGGER THEIR EMOTION (EG. FEAR, ANGER, SHYNESS, LOVE ETC).

EMOTIONS ARE GENERATED FROM HUMAN’S BRAIN, TRANSFER SIGNALS TO OTHER PARTS OF THE BODY THROUGH NERVOUS SYSTEM. HUMAN BODY THEN WILL HAVE CERTAIN REACTIONS ACCORDINGLY SUCH AS HEART BEATING RATE INCREASE HENCE THE CHANGE IN TEMPERATURE IN DIFFERENT BODY PARTS. THIS DESIGN WILL PROTECT THE HEATED PARTS OF BODY (AS THEY ARE BEING MORE SENSITIVE/OFFENDED).

1.WE CAME UP WITH A PATTERN THAT AFTER OFFSETTING INTO MANY PIECES, WILL CRAFT OUT THE NEGATIVE SPACE OF WHERE OTHER AP-PROACHING PEOPLE SHOULD BE (SET OUT A LIMIT OF GETTING NEAR). ON THE SIDE, THE PATTERN FOLLOWED THE HUMAN BODY STRUCTURE OUTLINE TO CREATE MULTI-SECTIONS IN ORDER TO NARRATE DISTINC-TIVE PERSONALITIES.

2.THE BODY PART WILL BE THE MAJOR PROTECTION PART (GRID) AND ALSO WHERE THE TWO PARTS OF DESIGN JOIN TOGETHER.

COMBINING IDEAS THROUGH FINDING KEY WORDS: INVISIBLE / PERSONALITY DEVELOPMENT / DEFENSIVE MECHANISM / NEGATIVE SPACE

A PROTECTION GEAR THAT CAN BE DESIGNED TO WRAP AROUND CERTAIN SENSITIVE AREAS OF BODY.CREATE AN ILLUTION THAT THERE ARE INVISIBLE FEATURES WRAPPING AROUND THE BODY INSTEAD OF SOLID COSTUME. GIVE THE PERSON A SENSE OF PROTEC-TION BUT ACTUALLY STILL INTERACTING WITH THE OUTSIDE.

Sketch Model- Illusion/ Invisible/ Negative space/ Protection, Hoi Yin HO, 2015

SKETCH MODEL - NEGATIVE SPACE/ CONNECTION POINTS/ CUMULATE VOLUME, JIA YUN KE, 2015

14

-DESIGN-2.2 DIGITIZATION + DESIGN PROPOSAL M2

TOP VIEW

FRONT VIEW

ISOMETRIC VIEW

SIDE VIEW

ISOMETRIC VIEW

FRONT VIEW

TOP VIEW

SIDE VIEW

4. THE WHOLE DESIGN IS SHOWING THAT THE PERSON IS IN PHASE OF STRUGGLE (MENTAL CONTRADICTION) AS PART OF HIM WANTS TO UNRAVEL THE PERSONALITY TO THE OTHERS, WHILE ANOTHER PART OF HIM IS STOPPING HIM.

1. IN THIS MODEL, ALL THE COMPONENTS ARE PUT ON THE LEFT SIDE OF THE BODY TO SHOW AND EFFECT THAT THE PANELS ARE DEVELOPED FROM THE BODY AND RO-TATING.

2. THE VERTICAL PARTS ARE CURVED AS THE PERSON’S SIDE PROFILE, MEANING THAT THE PERSON IS REVEALING HIS ANOTHER SIDE BUT AT THE SAME TIME PROTECTING HIMSELF.

3. THE HORISONTAL PARTS ARE A SERIES OF PANELS EMBRACING THE HUMAN BODY TO GIVE THE PERSON A SENSE OF SECURITY.

1. THE DESIGN WILL HIDE THE RIGHT PART OF FACE AND LEAVE THE LEFT PART OPEN TO SHOW THE PERSON IS STILL WILLING TO COMMUNICATE WITH OTHERS JUST THAT A SAFE AND COMFORTABLE DISTANCE IS KEPT. WHEN LOOKING FROM THE SIDE WAY, THE PANELS WILL ACT LIKE A COVER (OR CAMOUFLAGE DEPENDING ON MATERIAL) WHICH HIDES THE PERSON.

ANALYSIS - Design 2

2. BY LOOKING AT THS SIDE WAY, THE VERTICAL PANELS ARE TAK-ING UP MORE SPACES AT THE PER-SON’S BACK TO PROVIDE BIGGER PROTECTION.

3. COMPARING WITH MODEL 1, THE PANELS ARE MORE GEOMATRICAL AND MORE POINTED AT CORNERS. THIS GIVES OUT A SENSE OF RIGIDNESS, SECURITY AND STRENGTH.

15

-DESIGN-2.3 PRECEDENT RESEARCHM2

IN OLIVIA’S DESIGN, SHE WANTED TO PROVIDE A SHELTER THAT CAN ENCAPSULE DESKS OR BEDS AND ENCLOSE THE AREA, WHICH GIVES THE USERS SENSE OF PRIVACY AND PRO-TECTION. IT ALSO BLOCK USERS FROM DISTRACTIONS HENCE ALLOWING USERS TO BE EN-TIRELY FOCUSED. THE STRUCTURE CAN BE LOWERED OR RAISED ABOVE WHICH ALLOWS USERS TO ADJUST THE LEVEL OF PRIVACY THEY WANT.

THE DROP SERIES BY OLIVIA DECARIS, 2009

THE DROP SERIES (2009) BY OLIVIA DECARIS ISOLATION / PRIVACY / INTIMACY / CONCENTRATION / ENCAPSULATION

THE PRECEDENT GAVE US AN INSPIRATION OF HOW THE PERSON CAN REACT AND MOVE WITH THE DESIGN IN ORDER TO FEEL THE EMOTION AND EFFECT PROVIDED (EG. WANTING TO HIDE AWAY/ SCARED).DESCRIPTION OF PRECEDENT

1. THE DESIGN WILL HIDE THE RIGHT PART OF FACE AND LEAVE THE LEFT PART OPEN TO SHOW THE PERSON IS STILL WILLING TO COMMUNICATE WITH OTHERS JUST THAT A SAFE AND COMFORTABLE DISTANCE IS KEPT. WHEN LOOKING FROM THE SIDE WAY, THE PANELS WILL ACT LIKE A COVER (OR CAMOUFLAGE DEPENDING ON MATERIAL) WHICH HIDES THE PERSON.

ANALYSIS - Design 2

16

-DESIGN-2.3 PRECEDENT INFLUENCEM2

UPPER BOD

Y LENG

TH: 380MM

SHOULDER WITH: 415MM

AFTER THE PRECEDENT RESEARCH, WE DECIDED TO NARROW DOWN OUR DESIGN JUST TO FOCUS ON THE EMOTION ‘FEAR’ WHICH IS THE MOST SENSITIVE EMOTION TO APPROACH THE MEANING OF THE PERSONAL SPACE. WE THEN ANALYSED THE REACTION OF PEOPLE WHEN THEY FEEL FEA/ IN SHOCK.

FEAR

(1) RAISING SHOULDERS (2) COVERING FACE/HEAD (3) CURL UP TO A BALL/ HIDING

ACORDING TO STUDIES, FEAR IS ASSOCIATED WITH INCREASED ACTIITY IN THE CHEST AND UPPTER BODY, HENCE THE TEMPERATURE WILL ALSO BE HIGHER AS SHOWN IN THE PICTURE ON THE LEFT. ALSO, ALL EMOTIONS ARE TRIGGERED FROM OUR BRAINS AND SPREAD OUT THROUGHT NERVOUS SYSTEM.

WITH THESE NEW INFORMATIONS, WE DECIDED TO CHANGE OUR DESIGN TO EXPRESS THESE KIND OF EFFECTS. WE WANT TO CREATE SOMETHING THAT CAN SHOW ONE’S FEELING WHEN THEIR PERSONAL SPACE IS INTRUD-ED, AND ALSO PROVIDED A CALMING AND HIDING SPACE.

ADDING ON OUR PRECEDENT STUDY, WE ARE ALSO ALLOWDING THE PERSON TO FULLY COVER THE UPPER BODY TO PROVID A HUGGING AND PROTECTING EFFECT. THEREFORE WE HAVE TO MEASURE SORTS OF DIMEN-SIONS OF THE UPPER BODY.

ISOLATION / PRIVACY / INTIMACY / CON-CENTRATION / ENCLAPSULATION

17

CONTINUING FROM OUR PRECEDENT STUDY, WE TRIED TO CREATE A CAGE LIKE STRUCTURE TO COVER THE UPPER BODY. THEN WE PLAYED AROUND WITH THE PATTERN AROUND TO SEARCH FOR DIFFENT KINDS OF EFFECT TO CARRY ON THE IDEA OF CREATING A NEGATIVE SHAPE OF ANOTHER PERSON STANDING INFRONT/ BEHIND (THE EFFECT MENTIONED IN PROPOSED DESIGN V.1 & V.2).

HOWEVER, WE FOUND OUT THE PATTERN IS NOT CLEAR ENOUGH, SO WE CAME OUT WITH ANOTHER IDEA FOR A BETTER USE OF NEGATIVE SPACE: INTERIOR AND EXPERIOR SPACE. WE FOUND OUT THAT THE INTERIOR THE SPACE DOES NOT HAVE TO BE THE SAME AS THE EXTERIOR WHERE PEOPLE SEE.

WE ALSO THOUGHT ABOUT DESIGNS THAT CAN MAKE THE KNEELING OR CROTCHING MOTION BE DONE MORE EASILY.

WE ALSO CHANGED THE NECK/HEAD COMPONENT TO A STRUCTURE THAT IS EXTANDED FROM THE BACK AND COVERING PARTS OF THE FACE TO HAVE A ‘BLANKET’ EFFECT.

COMBINING ALL THE EFFECTS WE WANT, WE CAME OUT WITH THIS KIND OF STRUCTURE.

-DESIGN-2.3 PRECEDENT INFLUENCEM2

18

-DESIGN-2.4 DESIGN PROPOSAL V.1M2 IN THIS VERSION, THE HORIZONTAL PANELS ARE SLANTED UPWARD

ABOUT 30 DEGREES CREATE MORE SHADINGS IN THE UPPER BODY. THIS VERSIONS STRES MORE ON THE LOWER PART OF THE BODY.

THE DARKER AREA INDICATES THE SHAPE OF THE INTERIOR, AND AT THE SAME TIME EXPRESS THE

SPREADING OF TEMPERATURE (FROM WARM TO COLD/ BLACK TO TRANSPARENT) DUE TO THE

EMOTION OF FEAR. THE WARMTH OF THE PERSON IS FADING AS THE DESIGN IS BLOCKING OTHERS

TO APRROACH, HENCE THEY WILL ONLY FEEL THE COLD SO THEY WILL NOT GO CLOSER.

FOR THE SIDE PROFILE, WE EXAGGERATED THE EXTERIOR SHAPE, NOT ONLY ALLOWING THE

PERSON TO CROTCH OR KNEEL DOWN, BUT ALSO TO CREATE A STRONGER CONTRAST WITH THE INTERIOR SPACE. IN INTERIOR SPACE IS MORE CLOSE TO THE HUMAN BODY TO PROVIDE AN

EMBRACING SPACE.18

19

-DESIGN-2.4 DESIGN PROPOSAL V.2M2

IN THIS VERSION, THE NOTCHING COMPONENTS IN THE CENTRE PART OF THE BODY IS ALSO DENSER TO REIN-

FORCE THE IDEA OF HEAT SPREADING OUT. TOGETHER WITH THE COLOUR EFFECT.

FOR THE SIDE PROFILE, WE KEPT THE SAME IDEA AS

VERSION #1.

IN THIS VERSION, WE CHANGED THE DIREACTION OF NOTCH-ING. THE SHOULDERS ARE EVEN HIGHER AND STRESSES MORE ON THE UPPER PART OF THE BODY.

19

20

-DESIGN-2.5 PROTOTYPEM2

THIS PROTOTYPE IS MADE FROM A SERIES OF TRANSPARENT PLASTIC NOTCHING PANELS. IT HAS A ROUND-ED SHAPE BUT THERE IS TRAPEZOID EMPTY VOLUME TO REPRESENT A DIF-FERENT SHAPED NEGATIVE SPACE (THE INTERIOR).WE PAINT ON THE PANELS TO SHOW THE SHAPE OF THE INTERIOR SPACE AND THE TEMPERATURE SPREADING EFFECT.

WE DECIDED TO ALSO TEST OUT THE HEAD COMPONENT. FOR THE PHYSICAL MODEL WE TESTED OUT A SPRIRAL NOTCHING METHOD AND WE CAME ACROSS WITH MANY DIFFICULTY SO WE THNK IT MIGHT ALSO BE GOOD IDEA TO NOTCH HORIZONTALLY. WHEN NOTCHING HORIZONTALL-LY, THE PANELS CAN BE DENSE WITHOUT HURTING THE EARS.

Test #1 Test #2

21

-DESIGN-2.5 TESTING EFFECTM2

TEST #2TEST #1IN TEST#1, WITH WIDER GAPS. IT HAS A GREATER TRANSPARENCY EFFECT AND SENSE OF OPEN-NESS.IN TEST#2, WITH SMALLER GAPS, IT HAS AN EF-FECT THAT YOU CAN SEE OTHERS BUT OTHERS CAN NOT SEE YOU CLEARLY.

BY ADDING THE HEAD COMPONENT, THE EF-FECT OF LIKE A BLACKET COVERING THE WHOLE BODY CAN BE ACHIEVED.INTERIOR VOLUME

22

TRANSLATING DIGITAL TO PHYSICAL

3.0

FABRIC

ATIO

NJI

A Y

UN K

E, H

OI Y

IN H

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(621

409,

662

109)

23

-DESIGN-3.1 FABRICATION INTROM3

AFTER THE LAST PRESENTATION, WE DECIDED THAT WE SHOULD REALLY FOCUS ON THE EF-FECT OF TOTALLY TRAPPING THE HUMAN BODY TO CREAT STRONGER SENSE OF HIDING, WHICH IS THE REACTION OF A PERSON WHEN HIS/HER PERSONAL SPACE IS INVADED.

WE ALSO DECIDED THAT WE SHOULD GO FOR THE HORIZANTAL GRID NOTCHING INSTEAD OF DIAGONAL KNOCHING AS IT WILL GIVE A STRON-GER SUPPORT TO THE STRUCTUE AND HAVE A SENSE OF RIGIDITY.

MOVING ON TO MODIFY OUR DESIGN, WE CAME UP WITH AN IDEA THAT WE SEPA-RATE THE EXTERIOR AND INTE-RIOR SPACE INTO TWO GRID, INSTEAD OF SHOWING THEM THROUGH DIFFERENT SHAPE OF A SINGLE SLIDE.

BY DOING THIS, THE DIFFERENCE IN SPACE, WHICH IS THE PESONAL SPACE THAT THE PERSON WILL WANT TO KEEP FOR HIMSELF/HER-SELF AND THE LIMIT OF THE DIS-TANCE THAT THE PERSON WANTS TO KEEP WITH OTHERS, WILL BE SHOWN.

24

-DESIGN-3.2 DESIGN DEVELOPMENT & FABRICATION OF PROTOTYPE V.2M3

TO TRY OUT THE GRIDDING SYSTEM, WE MADE A 1:1 PART OF THE HELMET AS IT IS A SMALLER IN SIZE. WE TRIED OUT 3MM PERPEX AND THE POLY-PROPYLENE TO TEST OUT THE EFFECT OF MATERIALS AS WELL.

3MM PERSPEX PROTOTYPE

THE PERPEX PROTOTYPE HAS A STRONG SENSE OF TRANSPARENCY AND LOOKS RIGID, HOWEVER, IT IS ALSO VERY CRISP AROUND PLACE WHERE NOTCHES ARE MADE. WITH A LIGHT PUSH, THE SLIDE EASILY BROKE INTO 2 PIECES.

POLYPROPYLENE PROTOTYPE

THE POLYPROPYLENE IS TOO THIN TO PROVIDE THE RIG-ID FRAME THAT WE WANT. WHEN THE POLYPROPYLENE UNDERGONE LASER CUT, THE NOTCHES ARE NOT CUT FULLY AS THE HEAT JUST MELT THE PLASTIC AND FORMED CURVED AND HARD PLASTIC INSTEAD OF CUTTING IT, MAKING THE NOTCHES VERY HARD TO FIT. ALSO, CIR-CULAR STAINS ARE FORMED WHICH DOES NOT LOOK CLEAN.

PLAN

ELEVATION 1 ELEVATION 2

DIGITAL PROTOTYPE

25

-DESIGN-3.3 DESIGN DEVELOPMENT & FABRICATION OF PROTOTYPE V.3M3

MDF AND BOXBOARD (BOTH 3MM) HORIZONTAL NOTCHING PROTOTYPE

THIS PROTOTPE IS MADE TO SEE IF THE SCALE IS RIGHT AND SEE IF A PERSON CAN ACTU-ALLY CROTCH OR KNEEL DOWN WITH THIS STRUCTURE. UNFORTUNATELY, THE SCALE WAS A BIT OFF. BUT, THIS PROTOTYPE ALSO ALLOWED US TO TEST THE MATERIAL MDF AND BOXBOARD.

AS SEEN IN ABOVE IMAGE, BOXBOARD SEEMS HARD, BUT IT CAN BE EASILY PEELED INTO TO DIFFERENT LAYERS. WHEN THE BOXBOARD IS NOT CUT THROUGH, AND AFTER NOTCHING, DE-FECTS CAN BE EASILY MADE.

ANOTHER PROBLEM WE SPOTTED IS THAT WE CREATED NOTCHES THAT ARE TOO LONG, THATS WHY THE PROTOTYPE IS WAS NOT COMPLETED BECAUSE IT CAN NOT BE ASSEMBLED.

DEFECTS ON THE BOX-BOARD SIDE

STRONGER AND BETTER FINISH IN MDF SIDE.

26

-DESIGN-3.4 FINAL PROTOTYPE DEVELOPMENT + OPTIMISATIONM3

AFTER WE MADE THE 1:1 PROTOTYPE WITH SPIRAL NOTCHING,WE FOUND OUT THAT SUPER LONG NOTCHES WILL EASILY BE MADE, SO WE CHANGED IT INTO SPIRAL NOTCHIGN.WITH THIS NOTCHING SYSTEM, THE NOTCHES HAVE A MORE UNI-FIED LENGTH TO MAKE THE MODEL EASIER TO ASSEMBLE.ALSO, THIS NOCHING SYSTEM ALSO SUITS OUR IDEA OF EMOTION AND TEMPERATURE SPREADING FROM THE BODY TO THE OUTSIDE WORLD.

WE CHOSE TO USE MDF FOR THE WHOLE STRUCTURE AS IT IS RIGID ENOUGH FOR NOTCHING AND TO STAND ON ITSELF.

HOWEVER, WE FOUND OUT THAT WE ARE NOT ABLE TO GET THE HEAD INTO THE STRUCTURE AS PER OUR CONCEPT DIAGRAM, AND THE PANELS ARE LUMPY ON THE EDGES. THEREFORE, WE DE-CIDED TO CHANGE PART OF THE EXTERIOR VOLUME AND ADJUST THE DIGITAL MODEL CAREFULLY.

CLOSE UP IMAGE FOR SPIRAL NOTCHING

27

FROM THE READING, WE ARE INSPIRED THAT THE FREQUENCY OF THE SECTION WE MADE IN OUR ‘WAFFLE-GRID’ STRUCTURE WILL GIVE DIF-FERENT VISUAL INTENSIFICATION. BY THAT, WE CAN MAKE OUR TWO LAYERS OF GRID WITH DIFFERENT DENSITY OF GRID. FOR EXAMPLE, THE EXTERIOR GRID CAN BE LESS DENSE TO SHOW THE FADING OF EMOTION AND COOLER TEMPERATURE AS IT GETS FURTHER FROM THE HUMAN BODY; THE INTERIOR GRID CAN BE DENSER TO SHOW STRON-GER EMOTION AND HIGHER TEMPERATURE.

ALSO, WE UNDERSTOOD THE DIVERSITY OF SECTIONING AND PROFIL-ING AS A CONSTRUCTION TECHNIQUE, LARGE AMOUNT OF TECH-NICS SUCH AS STACKED, GRIDDED, ALSO MAY INTERCROSS WITH FRAME AND INFILL/ SKIN AND BONES.

-DESIGN-3.4 FINAL PROTOTYPE DEVELOPMENT + OPTIMISATIONM3

DIGITAL FABRICATIONS: ARCHITECTURAL + MATERIAL TECHNIQUES/LISA IWAMOTO. NEW YORK: PRINCETON ARCHITECTURAL PRESS C2009

WITH THE SPIRAL NOTCHING AND THE MATT BLACK SPRAY PAINT CRE-ATE THE ATMOSPHERE OF FEAR AND MYSTERY.

ALSO, WITH THE DOUBLED GRID ALSO CREATES A VISUAL ILLUTION LIKE MOIRE EFFECT TO HIDE THE UP-PER BODY. THE SHIFT OF VISIBILITY IS DISTINCTIVE.

DREAMS IN THE MONOCHROME, 2015

28

OUR FINAL DESIGN, WE DIVIDED THE STRUCTURE INTO 2 SEPARATED GRIDDED VOLUME, A HALF-BODY BUT LARGER IN SCALE EXTERIOR GRID, AND A FITTED IN-TERIOR GRID WITH HIGHER DENSITY. THE EXTERIOR ADDRESSED ON THE RAISED SHOULDER TO SHOW THE SCARED/ SHOCKED EMOTIONAL EFFECT OF A PERSON WHEN HIS/ HER PERSONAL SPACE IS INVADED. THE EXTENDING COLLAR PART NOT ONLY FIXED THE PROBLEM OF NOT GETTING HEAD IN TO THE STRUCTURE, BUT ALSO CORPORATED THE WHOLE EXTERIROR VOLUME TO CREATE A EMBRACING EFFECT. THE INTERIOR ALLOW THE PERSON TO KNEEL DOWN AND TOTALLY COVER THE BODY TO PROVIDE AN ENBRACING AND HIDING EFFECT, TO KEEP A PERSON’S PERSONAL SPACE FULLY TO HIMSELF/HERSELF.

-DESIGN-3.5 FINAL DIGITAL MODEL M3

28

29

PLAN ISOMETRIC

ELEVATION 1 ELEVATION 2

-DESIGN-3.5 FINAL DIGITAL MODEL M3

30

IMAGES SHOWING THE VOLUME INSIDE EXTERIOR, INTERIOR AND THE WHOLE STRUCTURE. THE HOLLOW SPACE AL-LOWED PERSON TO FIT IN AND MOVING ARMS ESPECIALLY IN THE INTERIOR PART.

THE PURPLE SHADES INDICATE THE INTERI-OR SPACE WITHIN THE STRUCTURE, WHICH IS ALSO THE PERSONAL SPACE OF THE PERSON. THE BOTH SIDE AND THE TOP ARE CARVED OUT DUE TO THEIR PURPOSE FOR ALLOWENCE OF THE BODY MOVEMENT.

-DESIGN3.6 FABRICATION SEQUENCEM3

30

31IMAGES SHOWING THE VOLUME OF THE PERSONAL SPACE

-DESIGN-3.6 FABRICATION SEQUENCEM3

32

EXTERIOR HORIZONAL PANELS EXTERIOR VERTICAL PANELS

INTERIOR VERTICAL PANELS INTERIOR HORIZONAL PANELS

-DESIGN-3.6 FABRICATION SEQUENCEM3

32

33

-DESIGN-3.6 FABRICATION SEQUENCEM3

THE HORIZONTAL PANELS ARE INSERTED ONE BY ONE INTO THE VERTI-CAL PANELS. WE MADE ALL THE NOTCHING ON THE EXTERNAL SIDE OF THE HORIZONTAL PANELS IN ORDER TO PULL THE VERTICAL PANELS FROM THE FRONT.

NOTCHING MEHTOD

33

34

1.TWIN CURVES FROM THE PANELS -FORM 3 SURFACES FOR EACH PANELS

2. OFFSET SURFACE BOTH SIDES 1.5MM->EACH PANEL IS 3MM

3.MOVE VERTICAL PANES OUTWARDS -> INNER PART TOUCHS THE OURT PART

4. BOOLEAN SPLIT->MARKING ON BOTH PANELS

5. SPREAD OUT PANELS-> CHECK OPEN CURVES

EXTERIOR PANELS

INTERIOR PANELS

A1-A3 A4-A5 A6-A7 A8 A9 A10 A11b

B1-B19

C1-C13

D1-D37

A11a

-DESIGN-3.7 ASSEMBLY DRAWINGM3

35

-DESIGN--3.7 ASSEMBLARGEM3

AT THE POINT, THE MODEL INTERIOR PARTS NOTABLY HEAVY AS THE THE LOAD ALL COMPRESS ON THE BOTTOM PANELS. THUS, HOLDING IT TOGETHER CAN NOT BE FINISHED BY ONE PERSON.

WE USED MARKING TAPE TO STOP THE PANELS FROM FALLING APART.

THEREFORE, WE FIXED THE DIGITAL MODEL AGAIN, AND FIND A WAY TO MAKE PERFECT NOTCHING AS SHOWN BELOW. ON THE OTHER HAND, WE USED MATT BLACK SPRAY PAINT TO INCREASE THE EFFECT OF FEAR- FEAR THAT IS SENSIBLE AND VISIBLE.

WE THEN USED THE TRANSLUCENT TAPE TO HOLD THE PANELS TOGETHER ON THE STRESSED PART ON THE BOTTON DUE TO THE AESTHETIC ASPECT. HOWEVER, THE PANELS ARE LUMPY IN SOME-HOW. THERE ARE NOT MUCH PERFECT NOTCHINGS.

36

-DESIGN-3.7 ASSEMBLY PHYSICAL MODELM3

FINAL ENTIRE PHYSICAL MODEL

EXTERIOR

INTERIOR

36

37

-DESIGN-3.8 COMPLETED 2ND SKINM3

37

38

39

DESIGN EFFECT

THE BALCK APPEARANCE AND QUEEN DRESS LIKE APPEARANCE WELL CAPTURED THE ATTRACTION, AND AT THE SAME TIME LURE OTHER PEOPLE TO HAVE THE SENSE OF FEAR TO THE PERSON IN-SIDE THE STRUCTURE.

CORPORATING THE EFFECT OF THE DENSITY OF GRIDS AND THE SPIRAL NOTCHING, CREATES A VISUAL ILLUTION LIKE MOIRE EF-FECT TO HIDE THE BODY. THE SHIFT OF VISIBILITY IS DISTINCTIVE.

THE EXTERIOR ADDRESSED ON THE RAISED SHOULDER TO SHOW THE SCARED/ SHOCKED EMOTIONAL EFFECT OF A PERSON WHEN CROCHING DOWN. THE EXTENDING COLLAR PART NOT ONLY FIXED THE PROBLEM OF NOT GETTING HEAD IN TO THE STRUC-TURE, BUT ALSO CORPORATED THE WHOLE EXTERIROR VOLUME TO CREATE A EMBRACING EFFECT. THE INTERIOR ALLOW THE PER-SON TO KNEEL DOWN AND TOTALLY COVER THE BODY TO PRO-VIDE AN ENBRACING AND HIDING EFFECT, TO KEEP A PERSON’S PERSONAL SPACE FULLY TO HIMSELF/HERSELF. AS SEQUENCE, THE WHOLE STRUCTURE IN ORDER TO PROVIDE AN EMBRACING BUT ALSO DEFENSIVE PERSONAL SPACE.

40

4.0

REF

LECTI

ON

41

THROUGHOUT THE DESIGN PROCESS THIS SEMESTER, I HAVE ACHIEVED SERIES OF KNOWLEDGE IN DESIGN. NOT ONLY THE UNDERSTANDING OF THE IRREGULAR DESIGN PROCESS, BUT ALSO THE IMPROVEMENT IN DIGITAL SOFTWARE SUCH AS RHINO, AU-TOCAD, INDESIGN, ADOBE ILLUSTRATOR AND PHOTOSHOP. HOWEVER, MOST IMPOR-TANTLY, I GAINED A NEW ASPECT OF THE INTEGRATED RELATIONSHIP BETWEEN THE DIGITAL WORK AND THE PHYSICAL CRAFTWORK. AS WE USE ONE IN THE TIME, IT ASSISTS THE OTHER. TRANSLATING DIGITAL TO PHYSICAL HAS THE POWER OF TRANSFERRING HUMAN KNOWLEDGE TO COMPUTERS AS IT INSISTS A STRONG RELATIONSHIP BETWEEN WHAT CAN BE CONCEIVED AND WHAT CAN BE STRUCTURED. IN ARCHITECTURE IN THE DIGITAL AGE, THE EXAMPLE OF FRANK GEHRY’S PHYSICAL PRACTICE AND DIGI-TAL WORK OF HIS PROJECT ALSO INDICATES THE POWER OF TRANSLATING DIGITAL TO PHYSICAL.

STAN ALLEN ARGUED THAT THE CONSTRUCTION HAD COME TO RELY ON TOOLS OF ABSTRACTION AS COMPUTER TECHNOLOGY IS INCREASING USED DURING THE PRO-DUCTION OF BUILDINGS. I THINK PART OF THE FACT IS REASONABLE. BY USING RHINO, I WAS ABLE TO DEVELOP A FAR MORE COMPLEX PARAMETRIC FORM RATHER THAN A GEOMETRIC SHAPE THAT I COULD ACHIEVE WITH ONLY USING PHYSICAL. IN OUR PROJECT, WE TURNED OUR DIGITAL MODEL INTO SEPARATED NOTCHING SURFACES THAT CAN BE SENT TO LASER CUT TO MAKE PRECISE MODELS. HOWEVER, THE MEDIA-TION BETWEEN THE DESIGN AND PRODUCTION IS ALSO SIGNIFICANT. IF ONLY DEFINING DESIGN BUT DISTINCT FROM THE GOALS OF THE INDUSTRY WOULD CREATE SERIES OF RISK SUCH AS FAILURE OF CONSTRUCTION. IN OUR PROCESS OF FABRICATION, THERE WAS INCREDIBLY CHALLENGE HAPPENED. AS THE FACTORS OF SCALE, WEIGHT AND FLEXIBILITY OF THE MATERIAL WERE HARD TO BE TESTED ONLY IN RHINO.

“DRAWINGS AND MODELS ARE USED TO COM-MUNICATE PRECISE INFORMATION ON HOW TO FABRICATE AND WITH WHICH MATERIAL.”

- BUILDING THE FUTURE: RECASTING LABOR IN ARCHITECTURE

REFLECTION

42

THE PROCESS THROUGHOUT TO OUR FINAL DESIGN WAS FAR MORE COMPLICATED THAN I COULD PREDICT, BUT I THINK OUR DESIGN OUTCOME COMBINES OUR CONCEPT AND DESIRED EFFECTS. THROUGHOUT OUR PROCESS, WE HAVE BEEN TAKEN MANY RISKS BEFORE TESTING OUT THE PHYSICAL MODEL. FOR INSTANCE, AT THE FIRST STAGE, AS THE SCALE OF THE MODEL WAS INCORRECT. THUS, WE COST THE UNNECESSARY MONEY TO CRAFT. AFTER WE HAD CRAFTED OUT THE FINAL PHYSICAL MODEL, WE FOUND THE EDGES WERE LUMPY, AND THE NOTCH-ING WERE IMPRECISE. WE DIDN’T EVEN ACHIEVE OUR POTENTIAL EFFECT IN THE MODEL. THEN WE IMMEDIATELY WENT BACK TO OUR DIGITAL MODEL TO CHANGE THE VOLUME CAREFULLY. IN SUCH CASE I BELIEVE CONTROL WAS MAINTAINED BUT AT THE COST OF EFFICIENCY AND INNOVATION. THE PHYSICAL MODEL IS IMPORTANT IN MEDIAT-ING BETWEEN HUMANS AND TECHNOLOGY AS IT ASSOCIATED WITH INTERPRETING AND IMAGINING ALTERNATIVE OUTCOMES.

ALTHOUGH THE PROCESS OF DEALING THE DIFFICULTY AND STRESS RELATED TO FABRICATING THE MODEL WAS PAINFUL (THERE WERE TIMES WE ALMOST GAVE UP ON OUR PROJECT), I AM GLAD TO SEE OUR FINAL DESIGN OUT-COME. AS I THINK WE HAVE TRIED OUR BEST, AND OUR DESIGN HAS ACHIEVED THE DESIRED EFFECTS REFER TO THE MAIN IDEA OF THE 2ND SKIN PROJECT-BODY ARCHITECTURE.

-DESIGN-4.0 REFLECTIONM4

43

5.0

APP

END

IX

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-DESIGN-5.1 CREDITM4

45

REFERENCE LIST

BookCover Julian Beever sidewalk art, chalk art, viewed 3rd April 2015,<www. howtodraweasy.com>

Branko, K, Spon, P,C2003, Architecture in the Digital Age - Design + Manufacturing, London.

Dreams in the Monochrome, 2014, viewed 16th April 2015,<https://www.pinterest.com/pin/134052526385390524/>

Fear image, viewed 18th April 2015,<www.griefrecoverykit.com>

Jeremy, R, Palgrave, M, C2011, The third Industrial Revolution,w pp107-126.

Lisa, W, c2009, Digital Fabrications: architectural + material techniques, New York: Princeton Architectural Press.

Olivia Decaris, 2009, The Drop Series, viewed 25th April 2015, <http://www.dezeen.com/2009/06/29/the-drop-series-by-olivia-decaris/>

Personal Distance Chart, viewed 20th March 2015,<www.almostsavvy.com>

Philip, B, Peggy, D, C2008, Building the Future: Recasting Labor in Architecture, Princeton Architectural Press. c2008. pp 38-42. Uncategorized | Passive Architect, viewed 14th April 2015,<www.buildlivegreen.me>

-DESIGN-5.3 BIBLIOGRAPHYM3