gh m4 538073 final

DIGITAL DESIGN + FABRICATIONM4 JOURNAL - SKIN 2.0 - JUNE 2015

GEORGIA LOUISE HALL 538 073

(Hall 2015)

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Protection in dystopia SKIN 2.0Personal space - the physical space immediately surronding someone, into which encroachment can feel threatening or uncomfortable (Lecture 02; Oxford Dictionary)

(Hall 2015)

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(Hall 2015)

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1. IDEATION - Fan

1.1. Lectures and readings

1.2. Ideation content

1.3. Summary

2. DESIGN - Personal space

2.1. Personal space analysis

2.2. Design content

2.4. Summary

3. FABRICATION - Textiles

3.1. Fabrication content

3.2. M3 Physical model

CONTENTS

4. REFLECTION - New design

4.1. Reflection

4.3. New design

5. APPENDIX

5.1. Credit

5.2. Bibliography

(Hall 2015) 4

Design brief SKIN 2.0Second skin - a wearable surface or volume that accommdates the body. It will explore, measure and/or negotiate the boundary of ‘personal space’. (Lecture 01)

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Fan 1.0 IDEATION (Hall 2015)

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LECTURES & READINGS

Lecture 01 was very interesting and a great way to start the semester! To start the lecture digital design was explained and how there is a process of work flow involved between the ideas phase and fabrication. The making of physical artefacts is difficult and it is challenging to building models accurately and well crafted. There is an emerging stong relationship between material systems and technology. The three physical systems that would be studied this semester were introduced - skin/ bone, section/ profiling, panel/fold.

Measuring spaceLECTURE 01 Material systemLECTURE 02

Inside Rhinoceros 4READING W1 How to lay out a croissantREADING W1

Lecture 02 discussed material systems and how material formation is based upon rules and logic. Many different points were dicussed throughout the lecture - which started my designing thinking process. I thought about how I could make digitally and then fabricate a developable surface. Using panel/ fold techniques I could produce a form that is an enclosed volume where no additional supports are required. This is because the material system through the panel/folds can maintain its structural integrity.

Material - n, the matter from which a thing is or can be made.

(Lecture 02)

System - n, a set of things working together as parts of a mechanism or an interconnecting network; a complex whole.

(Lecture 02)

This reading was useful to refer to when I was measuring and drawing my fan object. The fan was more complicated to draw than I thought it would be because of iits double layered structure. The croissant analysis demonstrated that the objects can be drawn and measured in a variety of ways. Therefore the fan was not as complicated as I thought it would be, I just had to find the correct method of measuring. The method I used involved photographing the fan and then tracing it. Overall it was a simple but effective method.

As I am in my final semester of the Bachelor of Environments (majoring in Architecture) I have already completed Air studio. Therefore I did not go to the first introductory Rhino workshop. However, I did use this reading throughout the semester as a reference point. I found it useful to read as it explains the most important principles of Digital modelling. I am always learning new skills on digital software programs and it is a resource to have readings like this one to refer back to.

Volume - n, the amount of space that a substance or object occupies, or that is enclosed within a container.

(Lecture 02; Oxford Dictionary)

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Personal space: the behavioural basis of design

READING W2

This reading was useful for the whole course overall. It summaries the purpose of doing a project like a second skin. Prior to this reading (and subject) I never considered measuring personal space - or that it could be transformed into an architectural project. However, I was wrong. Personal space is very interesting to study and innovative design ideas can be create that represent a measurement of personal space in some way.

I was assigned this reading for class discussion for week 2. - notes located on the right.

300 Years of Industrial DesignLECTURE 01

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300 Years of Industr ial Design -‐ Describe how you measured the object? Key observations? -‐ Is it making me explore new design ideas? -‐ How will this influence my design development for a second skin?

The art ist must never forget that he is technician, the technician never that he is an art ist . • Industrial design of history represented through artefacts used in everyday life, great

inventions, buildings and machines. • Design = referred to a kind of craft • Types of designers: Craftsman, Industrial, Architect and artist designer. • The manufacturing complex is part of the design development and communicates ideas

about human needs, activities, form and use, technique and materials. • The reading discusses a meeting between the craft of designing and the craft of

manufacturing. • How to observe the good things around us and to do it with a purpose? • Phase of computerised globalisation • Parts of the products need to be considered; technology, architecture, conditions of use,

production, machine tools, transport. • From the Danish tradition of observation and recording of artefacts through measured

drawings.

• Photos express the essential ‘feel ing’ of the objects • Photographs that are black and white, rather than colour, al low better

concentration on the form and surface.

• Industrialisation has made to the sensing of the natural elements: the evocative tone of the wine in the telephone wires. Which are now disappearing and being put underground!

• A designer is to have a deep understanding of the industry for which he is working and at the same time, perform the role of advocate for humanity and its environment. Which can be considered a challenge!

• Material choice is significant • Primarily synthetic materials are used in contemporary design today • Materials working together are different than materials working alone. When used alone or

in separate parts, the design task is different. • Huge issue/ sustainability of production that needs to be addressed – there are numerous

examples of the ways that misleading production and use of materials have impoverished the environment.

• Need to consider the nature and act of design • The work of both the architect and the industrial designer is placed in the very middle of the

triangle of art, science and technology, leading to fascination and complexity. • Micro and Marco design • Industrial development represents the stages of industrial creation. Year’s later re-

evaluation and re-design are introduced into the process. • The object I found most interesting in the reading included the graphic recording of hollow

ware. Wall thickness – important measurement that is commonly overlooked (I did not consider it at first). The inside surface line and outside surface link in their correct relationship to each other needs to be represented.

FAN // PANEL & FOLD

Plan view of FanScale 1:2 (Hall 2015)

Elevation view of FanScale 1:2 (Hall 2015)

(Hall 2015)

In the first tutorial for the semester we were each given an object to study. The aim being that the analysis of the object would influence our design ideas for a second skin. The object I was given was a paper fan - part of the Panel & Fold system. I studied the object in numerous ways including visual observation, physical experimentation and diagramatic analysis. I found that drawing the fan system helped me to understanding how paper can be used in panel and fold systems. Being able to physically open and close the fan was extremely helpful in allowing me to imagine my inital design ideas.

To be able to draw the full fan I measured the object, photographed it and then traced it. The fan is a double layered structure. Therefore I found that being able to draw the fan double-sided and accurately in plan view was challenging by hand. Because of this I drew one side in 2D and then layered two drawings over the top of one another to be able to create a drawing that represents the full object in plan view., as evident on page 11.

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Plan with double skinScale 1:1 (Hall 2015)

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The next step involved creating a series of sketch diagrams. These diagrams represented the composition of the fan. I was unaware about how few elements make up a paper fan and how simple but effective panel and fold systems can be. Producing diagrams allowed me to understanding the form of the fan in great detail.

The elements of the fan I was intrigued by the most included the joints and the circular movement. The movement involved in opening or compressing the paper system was extremely interesting to me. The paper in the fan is delicate, however it follows the same fold each time it open/ closes and therefore does not damage in anyway. The integrity of the material is maintained. This analysis influenced my intial design ideas. Also, paper as a material choice seemed adequate at this point in semester to be able to produce an interesting panel and fold system.

After understanding the form of the object I then modelled it on the computer. It was not difficult to model the fan in Rhino. When I first modelled the fan in Rhino overlaps there were overlaps evident in the surfaces created. Because of this I modelled it using Grasshopper, which produced a more accurate 3D representation of the form. The Grasshopper definition is explain on page 15 and evident on pages 16 & 17.

In all studios I have completed in my Bachelor of Environments so far, design documentation has been vitally important. As explained in the readings for M1 with new technology there develops a new way of designing. Drawing by hand on tracing paper and using a ruler was a useful way to understanding the object, however 3D modelling (ie. in Rhino) produces more accurate and reliable drawings.

(Hall 2015)

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FAN ANALYSIS

Circular forms Elements

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Joints

Movement All diagrams - (Hall 2015)

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1. Draw panel & edge structure and create a planar surface from the curves.

Plan view - linework

Plan view - rendered

3. Polar array to produce 33 fan surfaces. ** Problem - overlap of surfaces!

2. Duplicate, intersect and rotate to create the panel structure.

DIGITAL MODEL1. RHINO

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1. Draw a circle, set no. points, & create two sets of points. (Volume for surface)

2. Draw sphere, map points for holes. Set another no, points ‘spheres’ and move away specified distance from the first.

3. Trim the ‘spheres’ points set to create holes in fan surface.

4. Mirror the surface to create two fan surfaces joint and the same intersection. (With zero overlap of surfaces)

All images - (Hall 2015)

2. GRASSHOPPER

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1. SURFACE & FORM

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GRASSHOPPER DEFINITION

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(Hall 2015)

2. SUBTRACTION & DUPLICATION

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For this task I first reconfigured the fan that I had used for the first exercise. By breaking apart the paper sheets from the cardboard joints I was able to twist the paper. This allowed me to study the flexibility of the material. I began to consider how this can be applied to panel and fold systems - which is the material system I chose to focus upon. The next task involved applying the fan principles with other panel and fold techniques. I used origami and produced a form out of paper that I use to make as a small child. I physically made multiple shapes and glued them together. I then applied this to the body so I could think about the scale that I would like my second skin to be. As paper is fragile - smaller paper elements would be more appropiate for a final design.

Reconfigured Object -

1. Take the material system and change it to explore further

2. Should not look like the original object

3. You can also take a small fragment of the object you are assigned and amplify the effects

(Lecture 02)

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PRIMARY MATERIAL

Reconfiguration inspired by class exercise(Hall 2015)

RECONFIGURED MATERIAL SYSTEM

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PANEL & FOLD FORM

Origami inspired prototype(Hall 2015)

Spatial form, scale & personal space analysis(Hall 2015)

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FOLDING LINES

DESIGN ITERATIONS

As an additional exercise I reconfigured the fan object digitally using Grasshopper. I was developing additional design ideas and also finding inspiration for sketch design. From this exercise I learnt that many forms produced computationally are unable to be fabricated physically. There needs to be a strong design thought process involved for the second skin - so that the physical mdoel represents the digitial model. Now reflecting upon my design process am aware of how difficult that actually is. These iterations gave me inspiration to pursue spike/ pyramid forms - which is representing in my final second skin design.

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CREATING VOLUME


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PANEL AND FOLD SYSTEM

VOLUME PERSONAL SPACE SPATIAL & EMOTIONAL EFFECT

FABRICATION MATERIALITY

1. Emotional & physical isolationVeasyble by GAIA Group, 2010 Source: http://www.yatzer.com/Veasyble-by-GAIA

2. Movement & excitmentStage Set by AEDS, 2003-04Source: http://digit-all.net/California-Stage-Set-for-John-Jasperse

3. Surface repetiton & volumeMake A Hybrid by Matthijs la Roi, 2011Source: http://www.makeahybrid.org/2011/05/evolving-maya-ncloth-patterns-by-matthijs-la-roi/

INITAL PRECEDENTS

During M1 I began to consider what precedents I can use to influence my second skin design. I used precedents available on the LMS, as well as two found from indepentent research. I was intrigued about the various materials, scale and environments used. At this stage during semester I have little knowledge reading panel and fold techniques. There I did some research into what the material system actually entails. It was evident that a panel and fold system can be very simple or extremely complicated. Reflecting back on M1 I am glad that I did this precedent research earlier on. It allowed me to develop my ideas and was a benefit to my overall design process.

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Precendent in Southbank152 Sturt Street, Southbank, Melbourne(Friess 2015)

How does this respond to your personal space?

BOLD, CONTROL, GROWTH, OBTRUSIVE, TESSALATION

This design is forceful. responding to personal space in a bold manner. The growth appears randomly disperarse however, the model is in full control of the expansion of the skin. A sense of excitement is created through the movement.

Pivot Tessalation Multiple scales

Design 1 (Hall 2015)

SKETCH DESIGN NO.1

EMOTIONAL, DEFENCE, ISOLATION, PHYSICAL, WARRIOR



This design is strategically positioned to protect the model. The head and neck and protected by the moving structure. It is a forceful statement protecting the most fragile parts of the body.

Plan view

Allowing volume

SKETCH DESIGN NO.2

ACTION, TRUST, SMOOTH, SUBTLE, THEATRICAL.


Plan view

Material detail


This design is translated through the body. Movement and materiality are two key components. There is a sense of forgiveness through the movement. The repetiton controls the surface, it is inviting and can be trusted.

SKETCH DESIGN NO.3

Module 1 was a great learning experience. Many key themes were raised and developed through my learning process. I was introduced to the concept of measuring personal space - and how I could do this. I was introduced to the material system of panel and fold. Researching precedents was very helping in reinforcing my understanding of principles evident within the material system. The lectures and reading for M1 reinforced these ideals too.

After receiving feedback for M1 I was aware of the issue involved in my sketch designs. My tutor provided me with useful feedback in order to develop an innovative and interesting second skin design. It was evident that I understood the parameters that set up the fan object. However, this could have been taken further into the sketch design. The sketch design was in danger of becoming fabric like ie. with no structure. Another major part of feedback was to improve my photography skills - which I did focus on for M2. At this point I was still very interested in movement in general and how that can be used to protect the body.

(Hall 1974)

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Personal space2.0 DESIGN

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Intimate, embracing, touching, whispering, body-to-body contact, close relationship from contact to 45 cm between individuals

Personal, interactions with friends, family or relatives from 45cm to 122cm between individuals

Social, interactions with acquaintancesfrom 122cm to 350cm betweenindividuals

Horizontal interpretation of personal space

(Hall 1974)

PERSONAL SPACE ANALYSIS - PROXEMICS STUDY

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Personal space is often seen as a bubble, with a spherical shape englobing the individual, according to this diagram the space is more adequately represented by a conical form. The lower parts of the body are narrowly contained while the width of personal space expands until the upper body and head; the mental dictates a greater need for space.

(Hall 1974)

Vertical interpretation of personal space

Intimate, embracing, touching, whispering, body-to-body contact, close relationship from contact to 45 cm between individuals

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Different Genders - Social (Friess 2015) Different Genders - Couple in turmoil (Friess 2015)

Same Gender - Social (not friends) (Friess 2015)Same Gender - Friends (Friess 2015)

ANALYSIS IN CONTEXT

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Same Gender - Back-to-Back (Friess 2015) Different Genders - Couple ( Intimate ) (Friess 2015)

Plan View

Interestingly, due to a lack of visibility the rear surface of the body requires less personal space then the frontal one. Without sight there is a lesser account of the other person’s presence and thus, a substanlially narrower gap. (Friess 2015)

Eyesight Eyesight HeShe Interpersonal Space

Diagramatic Interpretation

When couples are being intimate they stand in each other’s personal space and allow the creation of an “interpersonal space” through their combined individual personal space. (Friess 2015)

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Pivot (Hall 2015) Tessalation (Hall 2015)

M1 sketch design idea - Tessalation (Hall 2015)

DESIGN IDEA & INFLUENCE

The core idea guiding the evolution of the sketch design is the protective function of the second skin, an envelope permitting the user to seek shelter from the exterior world. The design aims to provide peace and serinity when inside and extends the spatial boundary of the personal space. Meanwhile, interaction with the external milleu should be made possible by the use of different materials. Transparent plastic and cardboard paper are considered to be the best options at this point in time. Movement is also a crucial part of the project; from a folded “packaging” form, the design will unfold to create a life size cocoon when fully open.

A triangular panel composed of seven pyramids, which could be repeated to form a second skin. (Friess 2015)

SKETCH DESIGN DEVELOPMENT

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M1 sketch design idea - Movement (Hall 2015)

M1 sketch design idea - Triangulation(Friess 2015)

M1 sketch design idea - Scale & Context (Friess 2015)

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Origami Panel and fold influence (Hall 2015)

M1 Fan Prototype (Hall 2015) Prototype from M1 (Hall 2015)

Exploration of panel systems using Rhino (Hall 2015)

REFINED SKETCH MODEL

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Panelled developable surfaces - modelled with grasshopper (Hall 2015)

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SHIELD, NAMELESS, SECLUSION

ANALYSIS A panel and fold system is evident in the design. Multiple panels are repeated around a pivot point. The panels (surfaces of folded paper) are flexible. Therefore as the form “unfolds” the arrangement of the panels shifts. The majority of the form is constructed from thick paper, similar to a cardboard consistancy. The structure appears rigid in the photographs, however it is flexible through the unfolding mechanism. The straps of the structure are constructed out of fabric.

The mechanical & material systems of the form are very effective. When open, the design acts as a isolation barrier to external elements. The form provides an intimate and private space for the user that becomes a retreat for the mind by secluding one’s self from the external realm of “the others”. The volumetric boundaries and the lack of transparency of the object extend personal space and allow total enclosure. (Hall 2015)

Veasyble by GAIA Group, 2010

EMOTIONAL & PHYSICAL ISOLATION

Section view Elevation view Object’s trajectory from plane to volume; a juxtaposition of folded paper planes into array of pyramidal volumes articulated in a circular path. (Friess 2015)

PRECEDENT RESEARCH

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APPLICATION TO THE DESIGN

SHIELD, NAMELESS, SECLUSION

Veasyble by GAIA Group, 2010

Anonymous Circular movement Compressed storage(Hall 2015)

Enclosed panelled sphere using Rhino (Hall 2015)

Sphere fragements compressed into a semi-circle(Hall 2015)

The core inspiration from the precedent to our design project resides in the ideas of movement and adaption, as well as in the packaged form of the object. Movement is translated by the circular path leading to the complete unfolding of the design. Adaptation underlines the ability of the object to unfold at numerous angles, allowing the user to decide and adapt the shield to their needs and thus, have a adequate response to the needs for personal space for each person. The packaged form aims to provide an easy solution for the second skin to be wearable and transportable anywhere, anytime.

(Hall 2015)

DESIGN INSPIRATION

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Plan view

Elvation in profile Elevation from behind Perspective viewAll images - (Hall 2015)

PROPOSED DESIGN V.1

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Segment construction

Scale of triangulation

Deconstructing the sphere form All images - (Hall 2015)

Triangulated panels together forming a curved surface Sphere form can be manipulated into closed or open surfaces

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Front Elevation Perspective view Panelling a suface with a pyramid form to create volumeAll images - (Hall 2015)

DESIGN DEVELOPMENT CONTINUED

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Designing and fabricating a form that acts a spring! While avoiding the idea of a ‘slinky’ and a design representative of a fabric piece.

The expansion of the design over the shoulder.

Movement created through the ‘spring’ action of the design. Alterating the size of panels throughout the form allows for a more organic surface.

A multipanelled surface that can expand and contract at various lengths, due to the different responses to scenarios affecting users personal space. This should occur in one smooth movement and at a efficent pace to create an engaging Second Skin.

The design will rest on the back of the user. All of the panels will lay flatterened on top of one another, therefore creating a non-invasive Second Skin when not it is not in use. (Hall 2015)

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Various reactions for Second Skin

Second Skin - Open Second Skin - Partially open Second Skin - Closed

M2 DIGITAL MODEL

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Front Elevation Side Elevation Perspective view Perspective view from behind(Hall 2015)

Second Skin at full exposure

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1. SHIELD

While standing in line for a coffee one might experience a lack of personal space and thus, frustration due to the proximity with other individuals. Our design aims to provide a larger personal

space by acting as a protective shield and restricting the

intrusion of others within our space.

2. NAMELESS

While standing in line to withdraw money, one might need greater privacy and discretion to diminish possible fraud from other

individuals. Our design aims to provide intimacy by extending the personal space, especially in the back since the lack of visibility could lead to curiousity from others, therefore the design allows the

individual to be nameless and unable to be identified.

3. SECLUSION

While waiting for a job interview one might need solitude and seclusion from other interviewees in order to increase the chances of a successfull interview, by limiting the interactions with others and allowing to be mentally focused. Our design aims to provide a greater space in which the mind is focused by secluding oneself

from others.

CONTEXT - EXPLORING SCENARIOS

(Friess 2015)

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Strap panelling detail Diagram - (Hall 2015)

Joint prototype detail

Pyramid shape detail

PROTOTYPE EVIDENCE IN DESIGN

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M2 PROTOTYPE

(Friess 2015)

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M2 was a very informative period during the semester. I learnt a lot from the four weeks in the module. It was the beginning of turning virtual ideas into a reality, in the form of physical prototypes. I worked with Marc for module 2 and 3. Together we explored a range of materials. The work summarised above in M2 is a collection of information and design development from the module. We took on feedback pro-vided in M1 and improved our photography skills. The feedback we recieved after the M2 module presentation - was centered around the fact that we need to be more innovation. Therefore we shifted to textiles for M3.

(Friess 2015)

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Textiles3.0 FABRICATION

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Perspective view with colour coding for the pyramidsAll images (Hall 2015)

DISTOPIAOur final design is a second skin constructed from multiple elements, including leather. Leather coats the whole form of the second skin. The dark colour and various textures of the material adds to the aim for the design. The aim is for the second skin to be confronting, scary, obtrusive and make external viewers turn away. The stiching and ‘random’ formation of elements represents distopian design ideals. Not one solid pattern is followed and therefore the design is not predictable.

As the form ‘unwraps’ from the face around the body, the pyramids deconstuct. This deconstruction allows movement and creates an interesting surface. The malting is symbolic to the malting of a second skin. The location of the pyramids our based from our personal space analysis. Therefore there are pyramids located at the external part of the second skin that sits on the back. The abrupt transition in geometry reinforces the replusive ideals of the design, with the aim to be the user is not interupted. The geometry is more prounced in the digital model compared to the final physical one. Due to leathers properties and the forces of gravity. This change add an unexpected ‘surprise’ to the design and reinforces the dystopian ideals.

(Hall 2015)

Plan view

M3 DESIGN

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Front Elevation Elevation from left Elevation from behind Elevation from right(Hall 2015)

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UNROLLED SURFACES

After producing numerous prototypes with leather it was evident that sewing leather is a challenge! There is a limitiation with using an industrial sewing machine. Surfaces (flat plains) can be sewn using the machine. And it is only after that process can the surfaces actually be turned into volumes. Therefore each surface has to be created from a 2D plain and sewn before becoming 3D.

We unrolled the majority of the surfaces of the digital model. The unrolling of the face mask, base surface and metal surface were used as templates so we could accurately cut the shape out from the leather. These surfaces were laser cut onto Ivory Card 290 GSM. As the leather was expensive we wanted to minimise waste! Unfortunately due to Fab Lab restrictions we were unable to get the leather laser cut so using templates were the next best option for fabrication.

The unrolled Pyramids acted as templates and were also used in the fabrication process. The paper provides the pyramid form and structural support. Three pyramid sizes were used in the design, inspired by the pyramids used in M2. The proportions of the three pyramid types reflect the distances established from the personal space anaylis conducted for M2. This analysis strongly correlates to the effects that are wanted for the second skin. This is to produce a second skin that is confronting, replusive and representative of distopian ideals. With the aim that people move away from the second skin, allowing for the user to maintian their personal space.

(Hall 2015)

Face mask template Base surface template - tail to mid point Base surface template - mid point to top

Metal plate template (voids represent the location of the small sized pyramids on the base surface) All images (Hall- 2015)

M3 FABRICATION SEQUENCE

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Small Pyramids (15 on sheet) Small Pyramids (9 on sheet) Medium Pyramids (4 on sheet)

Medium Pyramids (12 on sheet) Medium Pyramids (4 on sheet)Large Pyramids (3 on sheet)

Large Pyramids (4 on sheet) Large Pyramids (3 on sheet) Large Pyramids (4 on sheet)All images - (Hall 2015)

The total number of pyramids fabricated:Small - 24 (2 spare)Medium - 20 (2 spare)Large - 14 (5 spare)

A total of 49 pyramids constructed from leather & attached to the base surface!

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PROTOTYPE DEVELOPMENT

Template for the pyramids sent to fablab for laser cutting and then cut and rastered by us. (photos 1.1 to 1.3) �en, template of main body section were used as patrons for the metal and leather layers. (photo 1.4 to 1.7). Cutting leather necessitate a rotary blade to allow curved shaped, metal is either cut with a stanley knife or a scissors for metal.

Photo 1.1 Photo 1.2 Photo 1.3 Photo 1.4

Photo 1.5 Photo 1.6 Photo 1.7

1. Template

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Metal sheets cut to dimensions and shapes were then connected to form the main body section (Photo 2.1). Mask section as been reinforced with metal wires at extremities using craft glue and rolling the embossing metal over for further stability. (photos 2.2 to 2.3). �en, metal sheet is coated/recovered by leather on the external side (photo 2.4 to 2.6).

�e making of the countless Pyramids! (photo 2.7).

2. Construction

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PROTOTYPE OPTIMISATION



Aligning and placing pyramids onto the card patron for allocated locations, and preparing them to be binded to one another (Photo 3.1).

Making holes in the leather for connection of the main body section to the mask section using a hole puncher (photo 3.2 to 3.4). Binding of metal sheets for main body section using sewing machine along overlap (photo 3.5).

Stappling pyramids to main body section using stappler (photo3.6 and 3.7).

3. Connections

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Making shoulder pads using di�erent layers of fabric for comfortable support, and metal wiring embedded within for structural sup-port (photo 3.1 to 3.4). Details on the mask, especially the slits to allow vision, were made by cutting through the metal vertical voids and then cutting them through the leather coating; �nally tweezers were used to create atypical slits (photo 3.5 to 3.6). Void were left in the metal sheets to allow perforation for corset’s area (photo 3.7).

4. Details

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Testing the e�ects of coating card with leather “Manta Pyramid” used as connections

Prototype using metal and card coated with leather and stitched with geometrical patterns


�e di�erent types of stitching using the industrial sewing machine avail-able at the fab lab’s workshop. Stitching gap between each dash varies, allowing for greater control over stitching aestetics.

Di�erent proposed fabrics using througout the design process and development.Ultimately leather was used to coat the design for aesthetic purposes.

M3 FABRICATION

Images - (Friess 2015)

The construction process for M3 was challenging. Leather is a difficult material to work with. This created problems in our process. However, it was a great experience learning how to sew and studying leather. It never occured to me that leather could be used in an architectural studio project.

Leather prototypes produced for M2.

The design aims to provide physical seclusion from others by shelding the body. While the pyramids offer a defensive protection and optimally serves as a boundary of the personal space, the mask seeks to trigger an emotional and psychological response from the social environment. The aesthetics of the project intends to induce scare and fright through a dystopian style. The effect sought after is to repulse others psychologically rather than solely addressing the physical aspects of the personal space. Here the Second Skin is a structure, but also a garnment and an artefact inspired by the world of fashion and textiles!

Perspective view Front elevation(Friess 2015)

M3 PHYSICAL MODEL

Elevation from behind Left side elevation

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(Hall 2015)

New design 4.0 REFLECTION

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(Hall 2015)

Over the past twelve weeks my design ideas have been constantly evolving, resulting in a varied, iterative design process. Looking back I have learnt a significant amount of knowledge and skills in both digital design and fabrication.

The design process for me has seemed to go in a circle – from paper to textiles and back to paper. M1 was enjoyable and I learnt a lot from studying the material system of the fan. In M2 I began to work in a group with Marc. We continued the focus on the Panel and Fold system with a focus on paper as our material choice. After feedback from M2 we turned to textiles and took a dystopian approach to our design. The transition to leather introduced a new layer of complexity that was ultimately detrimental to our overall project, as became apparent at the time of our M3 submission. I believe that if I had worked harder on the digital model and was less cornered about focusing on leather, then a better outcome would have been achieved.

Indeed, one of the key struggles for me was the accurate physical realisation of the model. After many trials and design attempts of panelling surfaces – something became clear. I realised that my focus had been too disparate and that in trying to work with a complex system and a complex material, my digital model had been relegated to speculation. This was certainly reflected in the feedback I received (for M3) that I then incorporated into my final model for M4.

The physical model represents the digital model exactly. For my final model I spent a lot more time (that should have been done for M3) rolling out the form, labelling it and making sure that each pyramid sat in the correct spot. This was to ensure that fabrication was identical to the digital model. “Craft in architecture is closely tied to detail, which is also being redefined with digital technology” (Bernstein 2008). With this achieved I could then produce a model that represents an interesting but accurate measurement of personal space. It was a risk designing and fabricating a new design in the last two weeks of semester. However, I believe that it was worth it and I was able to produce a second skin that demonstrates a clearer understanding of how to transition between a digital model and a physical outcome. Risk in the design process is where innovation occurs (Bernstein 2008).

Reflecting back upon the semester I have learnt some new very valuable skills and built upon many old ones. These skills will benefit my architectural studies in the long run. I now have a new perspective on how to approach creating thinking. Overall, this process was interesting, innovative and inspiring and pushed me in directions I wouldn’t have thought, in order to create and fabricate a design that was carefully researched and developed over the past twelve weeks.

REFLECTION

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2.0 SKIN EFFECT

Dystopian theme projected through photograph series. The black background creates an uncomftable feeling for viewers.

The shadow effects created through external llighting are very interesting. The shadows reinforce the intended purpose of the second skin. To measure personal space but also have have an effect of some kind.

My final design has an emotion effect to it. The right hand side of the form is intented to confront people - therefore they feel scared and move away me - allowing me to have my personal space. The left hand side is more welcoming and allows people to enter my personal space. Therefore is I would like people to approach me - then I will turn the left side of my body in their direction.


Protection in dystopia SKIN 2.0Personal space - the physical space immediately surronding someone, into which encroachment can feel threatening or uncomfortable (Lecture 02; Oxford Dictionary)

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After M3 I decided to create my own design for M4. My final design still relates to the dystopian concept, however it is constructed from paper and not textiles. I made a new design so that I could focus on executing one element of M3 very well. I chose to focus on the pyramids and how pyramid shapes can sit on the body to represent a second skin structure. I carried the pyramid theme through to M4 as it has been an issue and focus of Modules 2 and 3. The aim of the second skin was still carried through - being to create a form that is confronting, scary, obtrusive and makes external viewers move away.

I used the existing analysis of personal space from M2 and M3 and applied those ideals to a new form. The idea for my new design was to have one obtrusive side and one welcoming now. Linking in with the idea from M3 about physically isolating ones self. If it is confronting, people will not approach.

To represent this I designed the large pyramids over the right shoulder for the most protection. This was influenced by the previous mapping of personal space. The extruded pyramid distance ranges from 50mm to 150 mm being the tallest. The pyramids with voids are located by the waist, and range in length between 50mm to 100mm.

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PROTOTYPE - BACK TO PAPER

PAPER (M2)

PAPER (M4)

TEXTILES (M3)

The materials used throughout the design process for the past twelve weeks. Paper had the most structural integrity for my final design and therefore the most appropiate material to use.

This was the first attempt of making a new design for M4. The dark blue represents large triangles and the light blue represents small triangles. Half of this form was fabricated into a prototype and taken to class in week 11.

A screen grab of the digitial model prototype. This form sits on the body and has been panelled correctly using panelling tools.

After the submission for M3 I took on the feedback that I was provided with. As I was unhappy with my efforts in M3 I decided to redesign for M4. This meant that in the video submission I would have a new design. In two weeks I designed and fabricated a new second skin (out of paper) that still responded to previous concepts, research application and using the similar digitial tools. I focused hard on my digital tools and improved my digital modelling as I believe this was lacking in with both previous designs in M2 and M3.

Fabrication for WK 11 prototype

A mixture of black and white paper pyramids were used for this prototype to determine which effect I preferred.All images - (Hall 2015)

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During the WK11 tutorial I slightly readjusted the way the base surface for pyramids sits on the body - to make fabrication easier and so it sits nicely. I first modelled the base surface onto the human body and created a grid of points along the surface. Each point was 40mm on the exterior edge of the suface. This was to create a unified composition once fabricated. From the prototype completed for WK11 I also found that 40mm was a practical fabrication length and my desired out could be achieved with it.

After creating the prototype for WK11 I found that the tabs were the most complicated and tricky element to execute in my new design. Because my design is quite simple I decided to fabricate an interesting base that is used for pyramid alignment and acts as a tab support/structure. This surface replaces the original base surface and acts as a frame for the tabs of the pyramids to slide into and sit folded underneath. This gave additional support to the design and helped it site smoothly on the body.

The base design at different scales and viewpoints. The voids in the form allow the paper to be very flexible. I divided the base into 5 key areas so I could track all the pyramids and their allocated tab base. I unrolled base in its pair and particular design area.

Area 1 & Area 2 base surfaceAll images - (Georgia 2015)

Area 1 to 5 of the design. All points were matched between digtial model and physical model.

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SECOND SKIN 2.0

Each pyramid and base section was labelled so fabrication was accurate. Areas 1-3 contained 16 pyramids & bases and Area 4 & 5 contained 12 pyramids & bases each.

Exploded axonometric of the elements that make up the Skin 2.0 All images - (Georgia 2015)

All of the pramids surfaces and base surfaces rolled out and reading to set up for fabrication.

Edited photograph of the physical final design sitting on my body. Representing strong correlation that between the digital model and the physical model.

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Front elevation Right side elevation Left side elevation Left side elevation with form divided into A1-A5 used for fabrication. (Hall 2015)

Step 5 - Beginning to attached the pyramids to the base surface. I had to be extemely careful as the frame is a delicate form. The tabs of the pyramids slide into the ‘voids’ in the frame and then fold up underneath - to create a flat base surface.

Step 5 continued - The process of attaching the pyramids is continue. Here it is evident that A5 has been completed and has been attached to the A4 frame ready for the pyramids.

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FABRICATION - FINAL DESIGN

After the design was unrolled and fully labelled I send it to the FabLab for it to be laser cut. Once it was cut I picked in up and began making my model. Step 1 involved sorting out the pyramids into A1-A5.

Step 2 - Joining all the pyramids tabs together with super glue for the final design.

Step 3 - Connecting all base frame surface ‘pairs’ to make up A1-A5.

Step 4 - Frame surface A1- A5 completed and ready for the pyramids.

Step 6 - A3 and A4 complete - the next step involved joining them together.. With A1-A5 complete and connected then the fabrication process is complete. All images - (Georgia 2015)

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The fabrication process for M4 was the most enjoyable. This is because I had focused on the digital model a lot - so that I knew I would be able to fabricate it correctly in real life. The fabrication process was slow because I had to be careful with delicate elements. . However, it was enjoyable to see my digitcal model successful be fabricated. Paper was a suitable choice of material for my final design. I had the pyramid and base surfaces laser cut so the fabrication process was straighforward.

Prior to the video submission in week 12 I did include LED’s into my model. Unfortunately they broke prior to filming. Due to them being delicate the form being over the shoulder was not suitable for the wire and it did not sit tight on the surface. The wire also became a little bit of a problem during filming. I had to hide the LED’s and the wire from the camera. It was a good learning experience even though the lights did not work out. I learnt how to connect LED’s together and learn some electrical knowledge - which is very helpful to have.

Overall I have learnt a significant amount of knowledge about fabrication throughout the semester. From paper, to textiles and the return to paper, I pushed my modelling and prototyping capabilities.

Final model completed and ready for filming(Georgia 2015)

(Hall 2015)

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Resources 5.0 APPENDIX

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BIBLIOGRAPHY

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All digital modelling and graphic layout (for all modules) was completed by Georgia Hall (538 073) - (Hall 2015)Prototypes and a collection of photography./ writing was produced by Marc Friess (Friess 2015)

3deluxe : transdiciplinary approaches to design, 2008, Netherlands : Frame Publishers, 2008.Architecture in the Digital Age - Design and Manufacturing /Branko Kolarevic. Spon Press, London, c2003.

Charny, D. 2012, “Thinking through making” in The Power of Making.

Ching, F. 1990, “Basic Orthographic Methods” in Drawing - A Creative Process Van Nostrand Reinold, pp. 147-158.

Digital fabrications: architectural and material techniques / Lisa Iwamoto. New York : Princeton Architectural Press, c2009.

Evans, M. 2010. ‘The Art of British Rock: 50 Years of Rock Posters, Flyers and Handbills’, c2010.

Fabrication with textiles imagery - https://www.pinterest.com/georgiahall22/fashion-fabrication/Hall, ET (1974) Handbook of proxemics research. Society for the Anthropology of Visual Communication, Washington, D.C

Heath, A., Heath, D. & Jensen, A. 2000, “Function, Form, Technique, 1700-2000“ in 300 years of industrial design, ed. Adrian Heath, Ditte Heath, Aage Lund Jensen., Waton-Guptill, New York.

Introduction - Paneling Tools Manual, Rhino Mcneel

Lewis, D 2014, ‘Melancholia and Machinery: The Dystopian Landscape and Mindscape’, Dickens Quarterly, vol. 31, no. 1, pp. 17-31.

Loh, P. 2015, Lecture 1: Measuring Space, Melbourne.

Loh, P. 2015 , Lecture 2: Material Systems, Melbourne.

Loh, P. 2015 , Lecture 8: The Power of Making, Melbourne.

Rimel, L 1998, ‘Surface tension: new works in textiles’, [exhibit], American Craft, vol. 58, pp. 70-75.

Rifkin, J. 2011, The Third Industrial Revolution Palgrave Macmillan, , pp. 107-126.

Punk Rock Imagery - http://4.bp.blogspot.com/-ysZY3a8SczM/UTVbxdR2hHI/AAAAAAAACqA/2LlBsTiIsTw/s400/punk1.jpgScheurer, F. and Stehling, H. 2011: Lost in Parameter Space? IAD: Architectural Design, Wiley, pp. 70-79Surfaces that can be built from paper / In H.Pottmann,A.Asperl,M.Hofer, A.Kilian (eds) Architectural Geometry, p534-561, Bentley Institute Press, 2007Woodhouse, M 2010, ‘Evans, Mike with Paul Palmer-Edwards. The Art of British Rock: 50 Years of Rock Posters, Flyers and Handbills’, Library Journal, no. 19, p. 67.

Yee, R. 1997, “Conventional Orthographic Terminology“ in Architectural Drawing - A Visual Compendium of Types and Methods John Wiles & Sons, , pp. 41-63.Yee 2011, Origami architecture : papercraft models of the world’s most famous buildings, North Clarendon, Vt. : Tuttle Pub., c2011.

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