m4 journal adem 695402

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DIGITAL DESIGN + FABRICATION SM1, 2015 Developing Appearence

Adem Sahin695402

Rosie Gunzburg

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1.0 IDEATIONAdem Sahin (695402)

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In 300 Years of Industrial Design, I used the ceramic ewer’s measured drawings as a guideline as to what measured drawings I should make. The pineapple can be described by analysing a front elevation, a cross-section and a plan of it.Technological advances allowed me to easily measure the object. By taking photographs of the pineapple and rulers to define a scale, the pineapple was traced. Photographs capture the depth of an object which was required later to describe the cell and leaf structure.

Pineapple

Elevation Picture taken by Adem

Cross-section Picture taken by Adem

Plan Picture taken by AdemEwer, 300 years of industrial design (1700-2000)

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The plan of the pineapple was drawn first. It was observed that the leaves are stacked as sections and that each leaf was curved to a greater extent compared to the leaves on top of, allowing for more space for growth. A noteworthy point would be that finding a pineapple with leaves in the present time proved difficult as most suppliers to supermarkets cut them off and discard them, suggesting they serve no purpose to us.

This is the reason that analysing the cross-section did not provide insight into how the structure was made. After reading Miralles How to lay out a croissant, I initially thought the inside may show how the structure is formed but I only found that the fruit has several randomly spaced, indented lines inside, most likely due to environmental effect. The cross-section confirms the structural pattern on the leaves stated earlier but this was deemed unimportant as I was more interested in the panelling pattern of the cells.

The crucial information came from the cell structure from the elevation. The cells were placed as irregularly shaped panels made up of 4 to 6 sides. However, upon examining them as a whole, they appeared to be a lattice of diamonds or rhombuses.

Pineapple Measured Drawings

Measured Drawing Elevation by Adem Measured Drawing Plan by Adem

Measured Drawing Cross-section by Adem

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Drawing a simplistic 2d lattice of diamonds did show that it when the rows along the diagonals were shifted, the panels could be bent into shape as a pineapple. However, for the purpose of producing a 3d model of a pineapple, it would be ludicrous to calculate to what degree the rows would be shifted to yield the pineapple shape. Therefore, I would employ a diamond lattice instead to easily model the pineapple.

Pineapple Analysis

Pineapple Panels by Adem

Pineapple Diamond Pattern by Adem

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To save time modelling the distinct outlined shape of the pineapple, I imported and scaled the elevation image into Rhino 5, traced the outline of one side of the elevation then revolved it 360 degrees to form a 3d outline. This was an appropriate step as I wanted an abstraction of the pineapple. A surface domain with a diamond pattern was issued around the outline then diamond panels were tessellated around it. Testing with many surface domain numbers proved that the pineapple shape cannot be correctly constructed as a complete solid of tessellated diamonds as gaps were always showing. Even though I filled in the gaps with diamonds, the shapes weren’t completely consistent with each other throughout the shape so modelling and producing this new model could be perceived as an object with different information encoded than an actual pineapple would with regards to structure.

Digital Pineapple Model

Digital Pineapple Isometric by Adem

Digital Pineapple Elevation by Adem

Digital Pineapple Plan by Adem

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However, providing different information with what was a similarly created object gave me plenty of potential ideas for a reconfigured object. While still using the diamond pattern, I instead formed a cylindrical shape rather than the pineapple’s ellipsoidal shape. Also inspired by the section stacking of the leaves, I placed them around the object to give the leaves a role of protecting the fruit within.

Reconfigured Pineapple

Reconfigured Pineapple made and taken by Adem

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The volume would consist of a smooth surface to represent how heat is emitted from all parts of the body; especially around the head. It provides a sensation of when a personal space is being violated. This second skin would also be the visual representation of the aura in that it cloaks the person in their own natural light. It is a way of seeing personal space similar to how thermal imaging records colours associated to levels of heat.

It would surround the body similar to a dress but with a protruding collar that protects the neck and lower half of the face. As the densest internal body heat is inside the head, the collar curves and would theoretically join back over the top of the head. However, the top part would not be made as the user would not be able to see out of the second skin and, learning from the development of the pineapple model, the pieces would be difficult to align perfectly.

This relates to my personal space as other people’s body heat can increase my awareness of heat perception and cause discomfort.This idea was the most appealing and had the most possibilities for expansion. This piece would be looked a little further in module 2.

Sketch Design 1: Warmth, Light Aura

Thermal Image - Decision time for researchers of deadly bird flu (15/02/2012)

Personal Spaces Idea 1: Warmth, Light Aura

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The volume would consist of several vertical zig-zags around the body, between them being horizontal zig-zags. This is used to visualise the violent vibrations of neuron signals being sent through the body, and the resulting tension or compression felt in anxious and nervous states.The structure is to be mildly weak to represent the fragile nature of the user while in an anxious state. By producing the reconfigured object out of paper, I found it to easily deform with even a soft touch. This would be great to use to create a soft, weak skin that can drastically deform with any external touch; representing violent changes to the user’s appearance and behaviour if their personal space were invaded.

This relates to my personal space as my fragile nature when feeling uneasy can be broken easily with any unwanted events.I already felt uncertain about my second design relating to a panel and fold system as it was better suited as a section piece. Even then, I couldn’t see any further potential in it. One of the problems was that if it were made out of paper, then it would most likely be glued together which doesn’t quite meet expected standard of sophistication the skin would have and doesn’t meet the expected effort our group should input.

Sketch Design 2: Compression, Tension

Personal Spaces Idea 2: Compression, Tension

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The volume would consist of curved spikes offset at the tip and extended outward from the user to assert others with a weaponised skin. The spikes would point out from the elbow and also at the tip of the hand.Taking inspiration from how I used to pineapple leaves to protect the skin, I used the leaf shape to form a spike to not only protect the user, but to attack others if the user chooses. It is more of a representation of how the user acts to others rather than the reactions; an opposite effect compared to my other ideas. The panels are shaped like isolated triangles, folded near the base then folded in half to make them tougher. Multiple triangles in different scaled sizes are folded over each other so that each one points more outward and threatening to others; similar to an echidna extending its spikes in defence.This relates to my personal space as it fuels me with power to make choices over others, to deter invaders and to keep to myself, or to attack others and be open.The third design may have had potential but there was a big question as how it was going to be folded into place and how it would be positioned. Such a design would require the material to be curved around the arm in order to be held in place. Multiple segments would be required but that would interfere with the aesthetic look of the spike. The functionality

Sketch Design 3: Defensive, Dominance, Aggressive

weighted against appearance did not favourably skew either way so the idea was put aside.

Personal Spaces Idea 3: Defensive, Dominance, Aggressive

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2.0 DESIGNAdem Sahin (695402)Gareth Seddon (586527)Riley Woosnam (639454)Nick Dean (699066)

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When I was placed into a group with Nick, Gareth, and Riley, we knew we wanted to create a panel and fold system as that was what the pineapple was described as. Therefore, we referred to the reading Surfaces that can be built from paper as it describes lots of practical ways to develop surfaces as well as imply what kinds of surfaces couldn’t be built. We used this to determine whose idea from module 1 we were going to use or build upon.

I analysed my own designs to see which of them would be most suitable. After producing a digital model as a proposed design, I realised I had a similar problem that I did with the pineapple, the tessellated panels were not connecting together nicely as the shapes created from panelling tools were sporadically placed. Creating a complex 3d shape to be made out of a single sheet was out of the scope provided in Pottmann’s Surfaces that can be built from paper so the idea wasn’t working. Even using separate panels, the piece would look messy with some features more no-ticeable unintendedly. My final idea for expansion came from creating the cloak shape from the digitised body mesh itself (and scaled so it would fit over the body). Taking the idea of spikes from my reconfigured object and third design, I surrounded the model with spikes to visually show how body heat leaves the body. However, the idea was scrapped as the object didn’t convey the information it needed to communicate

Design Development Introduction

efficiently with regards to its complexity. So my entire design idea was scrapped in favour of the next idea.

Heat Perception Isometric - by Adem

Heat Perception Plan - by Adem Heat Perception Elevation - by Adem Spiked Heat Perception Plan - by Adem

Spiked Heat Perception Elevation - by Adem

Spiked Heat Perception Isometric - by Adem

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Our group concluded that Gareth’s leaf and crown design had the most potential as it captured the sharpness and protective nature of the leaves, when applied correctly. We were interested in integrating the spikes of a stegosaurus in our design. Its spikes would be used to protect itself from predators (or personal space invaders). Taking a step ahead of trying to find a surface foldable by paper, our structural system was going to employ the dynamic nature of folding due to lateral compression forces.

The pre-prototype was made as a reconfiguration to the reconfigured object to test whther it can be placed offset to the spinal cord. We agrred the our backs are our most unprotected area, as we can’t see it. On the body, the spikes operate as a result of the squeezing of the back and shoulder blades, producing a protruding effect with the spikes. Upon inspecting the digital design, it could potentially emulate the behaviour of a heater; the protruding spikes act as a cover of the heat source. As our back would act as a metaphorical heater, we mapped our body heat from our back to visualise the extent of our personal space. Combining the theme of protection from the spikes with the idea of heat perception/dispersion, we thought we had a very strong idea to drive the project forward.

Design Development Introduction

Leaf and Crown Design Back - By Gareth Leaf and Crown Design Front - By Gareth

Reconfigured Pineapple - By Gareth

Compressive Forces Illustration - By Gareth

Back Body Heat Mapping - By Nick

Pre-prototype - By Gareth

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The first design attempted to place the pre-prototype onto the back. However, the result is an inconsistent system of spikes. The shapes and sizes change unevenly with each progressing spike and the tips of the spikes did not align. It appeared that the system wouldn’t work as we intended as the spikes were supposed to function together. This could only occur if they have a consistent shape to them. On top of this, spinal elements looked 2-dimensional as the spikes did not protrude outward enough and that they’re offset to the normal of the back.

In retrospect, because our group was unusually large, we were producing a lot of ideas for a single project and it was at this stage we should’ve figured this out. This was of major disadvantage to us because while we had potentially good ideas, none of them were able be properly abstracted onto our second skin without having ambiguity in our key message, which we was never made clear in the first place. Furthermore, none of our ideas were explored enough individually to leave out our other ideas. Unfortunately, we did not think of this as an issue at this point as we focused more on the functionality of the second skin rather than the message we were going to communicate.

Design Proposal 1

Design Proposal 1 Isometric - By Adem

Design Proposal 1 Elevation - By Adem

Design Proposal 1 Plan - By Adem

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Never-the-less, our precedent research on the Puppet Theatre (07/02/2009) project by Hugythe and Le Corbusier inspired us to design how our second skin should look. This project emphasises the effects of triangular shapes and the way in which folding and tessellation can be used to construct an assembly of triangles in 3d space. The space between each panel can be used to allow the triangles to fold without overlapping each other but also maintaining the diagonal pattern throughout the whole structure. By using the tessellating and folding methods of composition used in the Puppet Theatre, four triangles were assembled to create a 3d panel, known as a chevron.

Precedent Research

Hugythe, P. and Le Corbusier - Puppet Theatre Outside (07/02/2009)

Hugythe, P. and Le Corbusier - Puppet Theatre Tessellation Pattern (07/02/2009)

Hugythe, P. and Le Corbusier - Puppet Theatre Inside (07/02/2009)

Tessellation with gaps for folding - by Riley

Assembly of Triangles in 3D Space - By Riley

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A second design was made to address the issues of the first design by incorporating the precedent research. Instead of spikes, chevrons were stacked in a vertical array across the spine, increasing in a scaled size up the back. All of the tips were aligned and the chevrons were symmetrical, meaning that the second skin can potentially function. Also, using the chevrons added a richer depth to the second skin than the first design as the structure becomes simpler to build. Therefore, by definition explained in Scheurer’s and Stehling’s Lost in Parameter Space?, the second skin became more abstract as it removed any unnecessary complications of asymmetry, and was reduced as the skin was translated to a more effective creation.

Design Proposal 2

Design Proposal 2 Isometric - by Nick

Design Proposal 2 Back Elevation - by Nick

Design Proposal 2 Side Elevation - by Nick

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Prototyping was a process we worked through most of the duration of the model. After we had agreed on Gareth’s folding design, we designed our first prototype using card to test the folding effects with a more rigid material. Due to the success of this prototype, a second and third one were also made from card was made to test out chevrons of either varying shape, or consistent shape with increasing scale. We found that having the same shape having an increasing scale to be better suited for stacking them into an array as it would be a lot easier to align them to the support beams they were attached to. The chevrons were attached by pins which offer slight rotation, allowing more degrees of freedom for how the user moves around. It was at this point we concluded that the chevrons should be used in our design. However, the second and third prototype didn’t offer much protrusion outward, which is not what we wanted, when the support beams were compressed toward each other. So for our final prototype for module 2, we fixed the chevrons to the support beams (made from balsa sticks) and the chevrons protruded outward much more effectively.

Prototyping

Prototype 1 - By Riley and Nick Prototype 2 - By Riley and Nick

Prototype 3 - By Riley and NickPrototype 4 - By Riley and Nick

Prototype 2 Shapes - By Riley and Nick

Prototype 3 Joint - By Riley and Nick

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However, while the presentation of the design had achieved our expectations, we had re-duced too much of the second skin for there to be an effective way to express all of our ideas. This can be seen with our prototypes as they captured nearly the entire second skin but on a smaller scale. The skin just covers our back which doesn’t communicate enough of our messages of dispersing body heat when unfolded and the vulnerability of the back not being visible. Upon reading Scheurer’s and Stehling’s Lost in Parameter Space?, we had realised this issue of improper abstraction and extreme reduction and that we had to either change our idea (meaning we would have to start over) or split our group up and split the ideas.

Final Prototype

Prototype 4 - By Riley and Nick



Prototype 4 - By Riley and NickPrototype 4 - By Riley and Nick

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3.0 FABRICATIONAdem Sahin (695402)Gareth Seddon (586527)

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After Gareth and I were split up from the group, we wanted to take our project in a different direction, so we went back to the drawing board to redesign our second skin and refocus on some core concepts. We decided to physically explore the way a person’s personal space opens up as you develop a relationship with them, and the more you can see into their inner self and go past their outer projection. We had an existing design language in the form of chevrons, so we reimagined them and played around with patterning them all over the body. Initially we proposed we kept the wiring for the idea of tension and release but we found it more aesthetically pleasing to have a completely tessellated design. Our design was refined to have all our panels completely connected, and expand out and reveal more of themselves and the designs on them as you open up, in a sort of peacock effect. It starts small, down near the ground at the end of your arm, but builds and grows up your body to a crescendo around your head, the epicentre of one’s consciousness and therefore personal space. We wanted to have the pattern suddenly start to make sense as we expanded the panels, so we based it around the idea of basic shapes becoming apparent as the final skin expands out.

Design Development

First Front Design - by Gareth

Second Front Design - by Gareth

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As there was such a radical change in the idea, the scaled chevron designs had to be scrapped and redesigned from scratch in order to be tessellated on a different part of our body than in module 2. So no new prototypes could be made until we had made our new model. We assumed that it wasn’t entirely necessary as we still wanted the dynamic folding functionality of the chevron that already exists. As the ends were stretched, the chevron would deform along the path we wanted it to. In this case, it’s going to deform in a natural manner, in the direction of where we wanted to pull it. Besides, producing fewer prototypes would reduce the weight on our cost and time constraints; at least so we thought. The consequence of soing so became apparent to us by the end of module 3.

With regards to the first digital model, it was not aesthetically pleasing to look at. The chevrons over the head were inconsistently placed and the chevrons at the arm did not connect with the head chevrons. As the arm chevrons did not aid in expressing our concept and muddied our design language, they were removed. Doing so also reduced our material usage.

Digital Design 1

Digital Design 1 Isometric - by Adem

Digital Design 1 Elevation Front Line Drawing - by Adem

Digital Design 1 Elevation Side Line Drawing - by Adem

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We wanted to make the design look more natural and visually appealing in its progression around the head. What inspired us to get around this problem was the precedent research on the Times Eureka Pavilion. They looked at a real world object, the venation leaf, to develop an algorithm that would form the tiling pattern that would later be improved on to create the final structure.

What we took from it was that we needed some real world objects whose design language people were already familiar with so that people can more intuitively connect with it. We looked at the conch shell, and our second design was modelled exactly on the profile of a conch shell.Our piece would function similar to a paper fan. It folds and unfolds when compressed and tensed respectively. However, we planned to make the chevrons meet in the middle to avoid having to develop the mechanical strips used to open and close the fan.

Precedent Research

Tessellated tiles for Times Eureka Pavilion, Paul Loh and Nex Archi-techture (2011)

Conch shell, Greisberger, M. (2014)Time Eureka Pavilion, Paul Loh and Nex Architechture (2011)

Beautiful classic Japanese fan, Green, G. (2013)

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The second model attempted to solve the problem of the randomly sized and positioned chevrons by using a shell as a shape to trace instead of creating complicated algorithms. While from the naked eye it looks appealing as we planned, however, when we zoomed into the model, we saw gaps between the chevrons meaning it won’t form the 3d volume the way we intended. We concluded that a real world object required us to create an algorithm in order to produce a solid 3d shape but was out of the scope of our technical work required to produce one.

Digital Design 2

Digital Design 2 Isometric - by Gareth


Digital Design 2 Elevation Side Line Drawing - by AdemDigital Design 2 Gaps ibetween chevrons

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The third model optimised the idea of the shell pattern by using an ideal, theoretical shell, which would be a perfect spiral, to fix the issue of gaps between the chevrons. There was also an issue as to how the spikes on top were going to be supported as we predicted they will flop around. We proposed that there be a frame structure made from the same material (so that the second skin remains light) attached by tabs.

Gareth and I were happy with this design at this point so we decided to start prototyping to test if our skin really did fold as we predicted.

Digital Design 3




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We used the simplest fabrication technique, 2D fabrication by using Rhino to create the model using meshes, then provide a format to send as a print job to FABLAB, then print the model using a laser cutter. Using digital fabrication to print allows us to create geometric complexities with relative ease which was required for this project.

Once we had settled decided on the laser cutter as our fabrication target, it let us base our design entirely around the concept of flat, unrollable panels which could be produced by the machine. It also encouraged us to aim for a high amount of interconnected panels to reduce assembly time and allow the machine’s precision to match up the joints better than a human ever would. The laser cutter can rapidly and precisely produce large areas of material with perfectly straight edges, which greatly eases the transition from the perfect, abstract world of the digital model to the muddled and complex analog world we inhabit. Post design, we unrolled the faces and sent it as a print job with assurance that it would be fabricated as we intended.

This one-to-one prototype made out of ivory card was used to test out our efficient system of printing. As our model can be flattened easily into a tessellated form of shapes because it is a folded three dimensional shape, we can print out huge sections of our piece, reducing the amount

Module 3 Prototype 1

of tabs and labels we need to put our skin together. This increases the strength of our piece, reduces the amount of time to put it together, and reduces the risk of misaligning the pieces when putting them together.

However, what we discovered was that the bottom portion of the skin (the pointed end to be attached to the support) was wrinkled due to the tiny folds. This can question how this would stay attached to the support so we improved the model by screwing them all down to the support with pins. A circular cap was placed over the wrinkled folds in the digital model to hide the way they look and to better support the piece over the body.

FABLAB Laser Cutter Prototype 1 - Side

Prototype 1 - Front

Prototype 1 - BottomPrototype 1 built by Gareth. All prototype photographs taken by Adem

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Before dealing with the issue of the bottom portion, we had ideas to improve its look further. The fourth model had the spikes protruded further outward to display further deformation while preserving its appealing look. It increases the effect of the crescendo theme of development of a story or relationship in that there are uplifting moments as well as downfalls. The large spikes pointing outwards would rapidly move apart, making the volume of the skin greatly increase, enhancing this idea of unfolding and unveiling.

As this was going to be our final design, we had also created the left shoulder support out of a coat hanger and an elastic strap, and created the chest clamp to hold the chevrons together (and to hide any unappealing folding that appeared in the first prototype). After we had made the second prototype, we corrected any mistakes and proceeded to print our second skin for the module 3 presentation.

Digital Design 4




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With the first prototype to be a success with its ability to fold well, we appreciated how digital technology has allowed folding to become a method of making; rather than it being a just a theoretical concept for making simple objects or a secondary device for architecture. We realised we created a number of different objects just by folding flat panels into place and that the material plays a big role in folding. Unfortunately, we realised this in our completion of our third prototype.

For the second prototype we wanted to test out how we were going to put the skin together using Optix card black, which is slightly thicker than before. We did this on a one-to-two scale as we just wanted to see if the piece exists properly the way we wanted (without the support) and to check over some last minute mistakes before printing the real thing.

What we found was that the areas without chevron spikes linking the chevrons on the front and back bent outward. This wasn’t really a problem as it adds a natural deformation to the system while it doesn’t interfere with our key ideas. We also tested out having lighting sources from within the skin as we considered connecting a series of lights together on our chest and back. While an interesting idea, the details of the implementation proved to be too hard to overcome, with lighting direction, colour, diffusion


characteristics and desired effect on our visual language proving to be factors conspiring to confound our efforts.

Another issue was that the prototype was too thick and strong to be stretched like the first prototype did. While we did consider the possibility the smaller size contributed to this issue, we didn’t want to take any chances. The stretching dynamics of the system were not well expressed at this stage so as a compromise it was replaced with a rotational dynamic. While not as effective, one can view the rotation with the large spines moving upwards as a form of unfurling.

Prototype 2 - One Side Prototype 2 - Side

Prototype 2 - Front

Prototype 2 - Lighting EffectsPrototype 2 built by Adem and Gareth. All prototype photographs taken by Adem

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Fabrication Sequence

First Side done!

Let’s get started Take the tape off Take out all of the pieces Fold them by the shears

Glue the tabs to form 3D object

One segment done... seven to go

Repeat the same steps on another segment

Some pieces were separate

Glue four segments together And voila! Only the user can clearly see through it.

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Woohoo!

Now to do the other side It’s a mirrored version of the first side We stick together This side proved harder to use the glue somehow

Tape was used to hold pieces together while glue dries

We’re almost done the other side

Just getting the first side back

Desktop was used to prop up one side

This was needed so that we can glue the supports con-necting each side

Now to add the shoulder support to the skin Now to take final pictures for the journal

Fabrication Sequence

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What was originally planned as the final second skin for the module 3 presentation is now our third and final prototype. It is shown in its fully unfurled state. This prototype is made out of polypropylene, a plastic, meaning it does not bend easily. Oblivous to this fact, we chose it as the black colour had looked good on the second prototype and we assumed we had needed additional internal strength to prevent the skin from distractingly flop around as the first prototype did. We had underestimated how resistant the plastic was to folding and learnt the hard way, through making, that we should’ve used a more flexible material like ivory card to allow for easy bending. This was evident in our tiring efforts to bend the chevrons into shape but they do not protrude outward enough.

However, the slits that the user can see through did achieve its goal of lining up when the skin was unfurled as others can only truly see the user at specific angles and locations; the metaphor of developing relationships with those who truly see the user beyond appearances that we wanted to communicate. The user can also pivot the skin to prevent others from seeing his/her appearence, while not as effective as the unfurling, we had communicated some of our purpose to the audience.

We had a situation where we had to think about whether we wanted to keep this piece as its


appearence was quite interesting to look at or to improve the functionality. We knew that we needed to create another second skin to effectively show our complete and succinct intentions.

Prototype 3 - Close up

Prototype 3 - Front Elevation

Prototype 3 - Side ElevationPrototype 3 built by Adem and Gareth. Gareth is the model. Adem is the photographer.

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If we were to use the ivory card material, we would have to fix the issue of the centre folds of the chevrons rather than hiding it. We used the same mechanics of a fan as the solution as it would eliminate the need for a centre area for the chevrons and it would also appeal to the audience as the second skin looks more like a fan, an object most people are familiar with and can relate the message to a physical object with more certainty.

Digital Design 5

Digital Design 5 Plan - by Gareth




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Assembly Drawing

The assembly instructions are as follows:1. As the chevrons were attached together to reduce assembly pieces, the entire chevron side can be printed into 4 segments per side; so 8 segments total. One exploded segment is labelled with ‘1’. The exploded chevrons are in pieces due to the slits. Each segment was folded in a zig-zag format to give the chevrons their shape. The front segments were glued together with PVA glue (super glue was less robust to use if a mistake was made); the same for the back.

2. Some of the spikes were also attached to the chevrons by one of its base sides to reduce buidling time. On the other baseside there is a tab so it could be folded into shape then glued into its place. Some spikes (labelled ‘2’) were too large to fit for printing purposes, so both base sides had tabs to be glued on.3. For each chevron side, there was a set of MDF strpis that acted as fan pieces to allow for constrained folding to the spiral direction we wanted. They were attached to the ends of the chevrons and all met together stacked in the middle with holes so that a long pin (we used the coat hanger from our third prototype) can connect the all.

4. The front and back chevrons were then connected by an MDF structure (labelled ‘4’) with tabs to be glued to the spikes to support the upper part of the second skin. These MDF support pieces were only placed on the upper spikes so that none would be touching the user. Assembly Drawing of Second Skin - By Gareth

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4

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5. The shoulder support (labelled ‘5’) (for the users left shoulder) was attached to the two long pins from the MDF strips to support the lower part of the second skin. A strap was stapled onto the shoulder support to be wrapped around the users right underarm so the the second skin stays upright.

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Another Fabrication Sequence

Every piece holds together strongly!

Finished each chevron and spike side (after step 3) Place the upper structure to the correct positions Use tape to help glue them down to one spike side

The desktop was used to support the piece while gluing

Glue the upper structure to the other side

Finished second skin folded

Finished second skin unfolded We are done!

Most of the assembly was the same as the prototype 3 fabrication sequence. The difference was that in addition to that, we had to glue on all of the fan strips at measured lengths so that all of the holes met in the middle.The upper spike structure required masking tape to keep it in place while we glued tabs to it and the spikes.

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The final second skin was completed.It is made out of ivory card, meaning it would fold as we intended it to. We originally wanted the design to be black as we thought it had a more sophisticated look, but the white colour appears to work as fans do commonly come in white. However, the piece had its centre o mass near the top due to the MDF upper structure so the second skin did tend to flop back and forth with slight movement. Our previous prototypes did aim to reduce this issue but we did agree the most important aspect of this piece was to communicate our message of developing relationships.

Second Skin

Front and Side elevations of Gareth wearing the second skin. Photographs by Adem.

Second skin built by Adem and Gareth. Gareth is the model. Adem is the photographer.

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Risking the functionailty of the piece staying put due to the material, we succeed in our endeaver to create a folding second skin as a fan.It sould be pointed out that the second skin also pivots easily which from the third prototype isn’t seen as a setback as it also promotes the idea of visual appearance vs truly knowing the user as part of our devloping relationships idea. As the folding appeared to bunch together in the middle rather than uniform, we thought it would be better to emphasise the pivoting aspect of our piece in the filming.

Second Skin

Pcitures of Gareth unfolding the second skin. Photographs by Adem.

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4.0 REFLECTIONAdem Sahin (695402)

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As an engineering student, an architecture subject forced me to think about a design problem in a different fashion. Creativity and appearance plays as important role as logic and facts in order to produce the solution required. At first, the design problem appeared to be to create the second skin but I quickly learned that the real problem was to create and learn from the physical and digital models made in order to improve them. Also, the physical and digital processes were linked together so I also had to learn how to work with the constraints of one process that may not be present in the other (e.g. creating the print document from Rhino 5 in order to suit the constraints of the laser cutter). From the reading Imagining Risk, Marble emphasises the importance of communication between the architects and fabricators to skilfully craft an object. A lack of communication would result in not learning from one process to improve the other. This is the reason my group, in the end, worked through the digital design process and physical design process together.

For this entire project, the Internet played the biggest role. It was the main form of communication between group members, formed as a medium to send digital designs, and provided an infinite amount of precedent designs. Referring back to Imagining Risk, before the Internet, sending data and communication was less convenient then so having to coordinate

Reflection

a group project would have been a much more cumbersome task. I have an enormous appreciation for it considering the amount of times I used it for this project and for life in general. However, there was still a huge reliance on the laser cutter at the FABLAB in order to fabricate the object and it costed a fair amount of money. In the reading The Third Industrial Revolution, Rifkin proposes the likelihood of the 3rd industrial revolution occurring which can include personal 3d printers and micro-factories for every home. The generation of free energy and convenience of having every building resources would reduce the economic and time factors involved with this project.

An important skill I learnt was not how to create objects digitally or physically but to analyse my creations to see what could be improved to create the best possible solution; this would go further than having a functional solution. During module 3, Gareth and I created a one-to-one prototype made out of ivory card which did fold the way we wanted. So we knew the final product would work correctly with it. However, we thought we could improve the aesthetic look of our second skin while maintaining the folding functionality of it. Unfortunately the folding functionality was nullified so we did return to the ivory card and it worked as expected.

If I were to redo this project, I would focus on

developing an object with a strong idea being developed in tandem. Without a strong idea, the object created has no meaning to its existence, which is just a waste of time, energy and money to those involve in its creation. This was my problem in module 2 which caused the group to split and resulted in a redesign being required. Fortunately I learnt this in module 3 so that I could still develop a meaningful object during the semester.

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5.0 APPENDIXAdem Sahin (695402)

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Credits

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Kelland, K., & Nebehay, S, (15/02/2012), Decision time for researchers of deadly bird flu. Retrieved from http://www.reuters.com/article/2012/02/15/us-birdflu-who-meeting-idUSTRE81D0W820120215

Heath, A, Heath, D, & Jensen, A. (2000), 300 years of industrial design: function, form, technique, 1700-2000, Watson-Guptill, New York

Miralles, E, Pinos, C, (1988), How to lay out a croissant El Croquis 49/50 Enric Miralles, Carme Pinos En Construccion pp. 240-241

Sommer, R, (1969), Personal Space: The behavioural basis of design, Prentice-Hall, Inc., Englewood Cliffs, N.J.

Pottmann, H, et al. (2007), Architectural Geometry, Bentley Institute Press.

Scheurer, F. and Stehling, H. (2011), Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 (4), July, pp. 70-79.

Hugythe, P and Le Corbusier (07/02/2009). Puppet Theater. Retrieved from http://spa-ceinvading.com/entry/project_id/Puppet_The-ater200907021246598214

Bibliography

Loh, P & Nex Architecture, (2011), Times Eureka Pavilion, The University of Melbourne, Melbourne, viewed 27 April 2015, https://app.lms.unimelb.edu.au/bbcswebdav/pid-4786026-dt-content-rid-16880986_2/courses/ENVS20001_2015_SM1/Wk7-Power%20of%20making-S1-2015-1.pdf

Green, C. (2013), Japanese Fans. Retrieved from https://www.pinterest.com/pin/573223858790802566/

Greisberger, M. (2014), [Conch shell], Retrieved from https://www.pinterest.com/pin/45669383696513467/

Kolarevic, B, (2003), Architechture in the Digital age - Design and Manufacturing, Spon Press, London

Iwamoto, L, (2009), Digital Fabrications: Architectural and Material Techniques, Princeton Architectural Press, New York

Rifkin, J, (2011), The third Industrial Revolution, Palgrave Macmillan.

Marble, S (2008), Imagining Risk, in Deamer, P, & Bernstein, PG, (eds) (2008) Building (in) the Future: Recasting Labor in Architecture, Princeton Architectural Press, pp. 38-42.

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