Sara Webber 640508

Thursday 9am - Group with Johnny and Udie

Semester 2 2013

IDEATIONI found this first module encapsulating as it introduced me to the expansive world ofdigital design and fabrication with Rhinoceros, with the Skin and Bone system being mypreference. I chose this system as it seemed the most complicated/technical andtherefore gratifying as it involves adding moving parts unlike the other 3 systems (a viewI no longer relate to). In my explorations this module I was inspired by Leonardo DaVinci’s work such as his wings below, as they have the functional and formal aesthetics'of a natural system recreated as an artificial object. I find this technique effective as thenatural world around us provides so much complexity in its formation for us to mimic inperfecting our own functional and decorative designs.

Sommer (1969) prompted me to consider the perceived human personal spaceboundary and the way that we convey our own spaces, which lead me to looktowards other living creatures and their defense and attack mechanisms in mylater group work for inspiration for our Second Skin. The above sketches are myattempts at designing a Skin and Bone defensive skin.

Study of the Structure of a Wing – Leonardo Da Vinci (1490) -

http://www.angelfire.com/electronic/awakening101/leonardo.html

MEASURING

The process of measuring my Skin and Bone object for later sketches kick-started my brain into considering objects in a measured and spatial way, taking overall scale into account into my later designs and using millimeter rather than centimeter thinking for better design accuracy. The lecture for week 1 and the readings by Ching (1990) and Jensen et al. (2000) consolidated the orthographic style of drawing technique as it was a relatively new concept to me that I have not really come across.

IDEATION

DRAWING

I’ve always been an avid drawer so this process was not new to meand is very enjoyable, especially after undertaking the DesigningEnvironments subject last semester. This process helped me tovisualize the information I gathered about the fan’s dimensions sothat I could later construct it on Rhinoceros.

IDEATION

RHINOCEROS

IDEATION

This was my firstRhinoceros model,constructed with thehelp of the Techsession and onlinetutorials on the right. Iwas delighted to learnhow to screencapture/print my workas it looks soprofessional and clean!The great deal of time Ispent learning how tooffset and make a polararray was very handyfor my later tail digitalmodels.

MO

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The making process made merealize the limits of certainmaterials, and the time it takes toconstruct a model can be longerthan planned.

IDEATION

DESIGN

Spine and Scale/plate-armour shoulder covering concept, Johnny, 2013

Potential joint movement in cape’s rib design, Johnny, 2013

Ribs symmetrical design concept, Johnny, 2013

Our groups 123DCATCHmodel transported toRhinoceros to model ourdesigns on. Wasn’t thecleanest model but it didthe trick in terms ofconsistency.

Coming together as a group all focusingon the ‘Skin and Bone’ system, wedecided to individually work on 3elements of a collaborative Second Skinthat has movable parts to provide optionsfor the wearer of the suit, being eitherJohnny or myself at the same height. Thesketches on this page are our efforts atbrainstorming potential systems involvingribs and spines.

Concept sketches, Johnny, 2013

Ideas for a Cape and Tail collaboration, Sara, 2013

DESIGN

Cape polygonal style concept that we used for the final design, Johnny, 2013

CAPE

Polygon inspired ribs for Cape, Sara, 2013

ABOVE AND BELOW: Cape structure, Johnny, 2013

Movement of the Cape via the spine structure, Johnny, 2013

This part of the design is the main and largestmovable component of the Second Skin, with aspine that facilitates the opening and closingthat represents the choice between welcoming aperson or defending one’s personal space.We first wanted to create a Cape with hingedribs for full movement, but it was too difficult tosynchronize all the ribs so we opted for just onerotating movement at the spine.The Cape creates a physical and indicatedvolume with the ‘skin’ material enveloping thevertically-aligned ribs.

Rib-spine structure, Johnny, 2013

WINGDESIGN

Udie was particularly interested in this part ofthe design as was I with my Da Vinci adoration,and this design was perfect for the ‘Skin andBone’ criteria. However, we were advised tomove on from developing this idea further(such as on the left) as it seemed inflexible andunimaginative. Luckily, it meant that my tailideas could be developed into somethingexciting!

Working Wing foam-core model, Udie, 2013

Wing movement diagram, Udie, 2013

Hinge sketch, Udie, 2013

Rhino Wing with ‘skin’, Udie, 2013

DESIGN

Thomas Heatherwick’s videowas particularly inspirationalas he reminded me thattexture is a necessarycomponent of design toengage people andcommunicate ideas, such asthe spikes on my tail design towarn intruders of thewearer’s personal space.

Our group went fromexperimenting with a plate-armour tail to designing witha tail constructed with apolygonal section + profilestyle sketched by me on theleft. This design is moreangular and visuallyappealing, and allows formaterial such as tights to bewrapped around it to createa volumetric space. It alsomatches the Cape designmuch more.

TAIL

Sketch brainstorm of spiked tails, Sara, 2013

ABOVE: polar arrayed plate-armour with barb & BELOW: simple plated tail – idea scrapped, Sara, 2013

MODEL & FINAL CONCEPTDESIGN

The reading by Scheurer and Stehling (2011) came tomind in my polygon tail construction and choice forprogression as it enforced the ideal that reductionand simple designs can be the most effective in termsof fabrication and aesthetic appeal. I agree!

ASPECTS TO USE FOR FINAL DESIGN FABRICATION:- Cape- Panels- Elasticized skin- Star shapes

Polygon-tail model made with cardboard panels, wire core and ladies’ tights enclosing, Sara, 2013

ABOVE & BELOW: Polygon-tail Rhinoceros model, Sara, 2013.

Conceptual Rhinoceros model of finaldesign to be majorly refined, Udie,2013

Above is our idea of our final design concept which wasrevised after our Module 2 presentation. We removed thewing entirely and morphed the tail into panels on the arm in ascaly or plate-armoured style, inspired by the model on theleft. An arm-mounted system will be much more effective atconveying personal space than a potentially flimsy tail behindthe wearer. We would create a sense of continuity across thetwo sides with the use of spikes and the elasticized skin.

FABRICATION

Armadillo Defense - http://www.reddirtchronicles.com/wp-

content/uploads/2010/07/armadilloball1.jpgBanded Armadillo -http://www.homepages.mcb.net/wormwell/9%20Banded%20Armadillo_Apopka%20North260206b.jpg

Normal and Defensive Modes of an Armadillo Lizard tail, Udie, 2013

PERSONAL SPACE

CONCEPTS

These are the threeatmosphere’s that canbe created with ourSecond Skin designthat we fabricated.Inspired by theroaming and defensesystems of both theArmadillo & ArmadilloLizard, we want toevoke the sense ofchoice in the wearerto either welcome anoncoming friend, hidefrom a threat behindthe Cape and Scales,or attack with thespiky Scales. Threechoices in one Skin.

Below left is a sketch ofmine depicting thechoices of the Skinwearer emulated by themovements of the Skinand Bone systems ofthe Cape, and theflexing of the Scales.

3 choices, Sara, 2013

Armadillo Lizard Defense - http://amazinganimalstories.com/wp-content/uploads/2013/07/Armadillo-

Lizard.jpg

Skin and Bone Scales Concept, Johnny, 2013Skin and Bone Cape Concept, Johnny, 2013

DESIGNS TO CREATE

OPEN and CLOSED personal spaces, Sara, 2013

Tail idea morphed into arm Scales, Johnny, 2013

Plans and measurements for the Scales based on my arm for the template, Sara, 2013

These are the design concepts that weendeavored to create, based on ourinspiration from the readings, lectures,tutors guidance and our animalprecedents. There is an overall angularand spiky style across the design.

We chose a red stretchymaterial for consistency andas many animals choose thiscolour as a defensivewarning. As you can see, ourdesign has come a long wayfrom where it started!

FABRICATION

Laser cutter Fablab template, Sara, 2013

Laser cut Luan Plywood before removing pieces, Udie, 2013.

Final Rib and Spine construction represented on Rhinoceros, Udie, 2013

Final Scales layout on Rhinoceros, Sara, 2013

RHINOCEROS CUTTING

FABRICATION

We needed Rhinoceros to createour panels for the Ribs and Scales,choosing wood which is rigid andsturdy. We chose to create a Spinethat sits atop the natural spine ofthe wearer and held by straps. Thisprocess taught me to simplify linesand curves, and use Osnap toensure points meet so that the lasercan cut correctly. On one of ourtemplates we needed to use aStanley knife to bridge gaps in thelasers cutting. It taught us for thesecond time we laser cut.

CONSTRUCTION – “SPINE”

We used PVA glue to put two layers of Ribs atop eachother for extra sturdiness for such a long structure.We used holes in the panels to alternate withbrackets to create the rotatable spine. It took a jointeffort from the three of us to glue together the Spineand then air dry it along with assemble the structureand attach the red, elastic material around the ribs.

FABRICATION

The making process requires prior planning andorganization to be effective and avoid breakages andfailure. I found that being in a group was beneficial asit meant that one could sit back and lead/dictatemovement so that stages could be completed in aprecise and coordinated way so that it was faster tocomplete the model than alone. We all learnt toexperiement with adhesives next time as the woodglue we chose took hours to dry (although ridiculouslyuseful!), and it stuck to my hands for 2 weeks!

Spine construction, all three photos taken by Udie, 2013

Two layers of ribs for extra support and coolness, Udie, 2013

FINAL TOUCHES

FABRICATION

We tried to use wire and glue tosupport the material, althoughas you can see it was ratherdifficult to coordinate. The Capeended up reasonablystructurally-sound, however thewood was bending in its ownweight and was fracturing at theSpine on some ribs, especiallythe narrow top one.We used red material initially toconnect the scales physicallyand visually, and sewed it inplace. It worked, but wasn’t asrigid and effective as I imaginedin my sketches (middle right).

Rib and Spine alignment sketch, Sara, 2013.

Voila! Cape completed, Udie, 2013.

Sara sewing skin on scales, Udie, 2013.

Rib concept for skin, Sara, 2013.

FABRICATION

OPEN - WELCOMINGCLOSED – HIDING / PROTECTINGMy design concept sketch for the completed Second Skin ‘Skin and Bone’ Choice suit, Sara, 2013

Working with a group was rewarding in the way that we could create something big with a combined effort of many hands, and theinspiration of three different minds. The downfalls were that it was hard to see my ideas compromised for others, and trying to organizepeople to do things or understand certain concepts was hard. However, the feeling of an idea being received and created by a groupwas highly rewarding. I learnt a lot from my group members about how to design with Rhino and create in real life, and how tocommunicate my ideas to have them appreciated and used.

SECOND SKIN PRESENTATION

FABRICATION

After our Module 3 presentation, we decided to take the opportunity to further refine our Skin by taking away the long stretches of red material from the Scales, and adding tights around the 7 scales to create a volume alike the polygon-tail from Module 2. We also cleaned up the Cape around the Spine to neaten the materials edges.Our presentation was choreographed to depict the 3 choices in Skin use: protective, hiding, and welcoming.

I was especially happy to see that the photographer and tutor’s were interested in the Scale side of the Skin as it was my brain child and idea to add the tights, which ended up being quite effective in the light, producing striking shadows. I was happy to see that our group effort conveyed the personal space defense system that we intended to create.

REFLECTION

REFLECTION

The ideation process helped me to align my thoughts to a design and spatial measurementtangent in which propelled me into considering made object around me in a new light, and assystems with unique features and making techniques. I committed to the ‘Skin & Bone’ systemin the hope that it would teach me how to create moving designs with functionality andappealing forms. I especially loved the option to use material to restrict the movement of thehinges and ‘bones’. From there, I was allocated a group with two other students who chose thesame system as me, however we are all open minded and creative, so we decided toincorporate other systems into our design to add complexity and functionality.

After explorations in the Design module with the Cape, Tail and Wing, we were advised to anddecided to abandon the Wing element as although complex, there was not much more that wecould develop on the wing to make it fit in with the rest of the Skin: it was a center-piece of itsown. We focused our attention on the movement of the Cape and Tail, which we decided towrap around the arm to allow the wearer to use it more readily, and create asymmetricalbalance. At this point I decided that there should be ‘skin’ around the now Scales to bringharmony to the whole suit, however the toils of compromise in group work meant that wesadly scrapped that idea. We decided to use long strips of the same red elasticized material thatenvelops the Cape to make the two sides match, however this process was time-consuming andless effective than the tights-wrapped Scales idea inspired by my Polygon-Tail model. I foundthat I enjoyed being in a group for this final Design and beginnings of Fabrication as we all haddifferent skills to present: and therefore, I got to complete more of the tasks that I enjoy such assketching and model-making and creating templates, as well as the other two members alsoundertaking amiable tasks. The only downfall that I can see from this process retrospectively isthat we did not spend much time designing together physically and ensuring coherence andefficiency; rather, we communicated regularly over text and Facebook and scannedin/screenshot our ideas to keep information flowing.

REFLECTION

The most valuable lesson I have learned from the Designing and Fabrication processes for template’s on

Rhinoceros is to ensure that I keep the designs and curves and simple as possible to avoid error; a lesson I

can transfer to my later designs in my career, as well as my bone carving hobby. I am so grateful to have

learned about the fabrication facilities at the University for later projects in my life, and I feel as if I have now

got valuable fabrication skills for designing landscapes and architecture, as well as having a go at 3D printing

in my later life. As ‘Distributed Capitalism’ by Jeremy Rifkin (2011) enforces, this medium of design has

potential energy saving and resource-efficient potential for future designers, and I would love to jump on

that bandwagon in the future and distribute my own unique designs to people. I like that Marble (1991)

mentions that “the quality of craft in an object has been measured by the trace of human input” as I highly

agree with his contention. I enjoy crafting objects by hand as I feel that there is a hint of love that is

transferred to the design that can be assigned to the intended receiver or space it will be located, and that I

do not think can be communicated through mass-produced objects in the same way. However, Rifkin (2011)

gives me hope for a rise in hand-crafted, unique items being distributed at a lower cost to the environment

and to the consumer in the future, allowing for decentralized small businesses such as myself to flourish.

Overall, although this subject has been time-consuming and challenging in overcoming design problems,

cleaning glue off my hands, and managing three people’s creative energy, it has been rewarding and I am

proud of the ‘Choice’ Second Skin that we created. If I could do the subject again, I think that I would have

chosen the Section & Profile system as I love the type of designs that it produces and the mathematical

aspects of them, especially how they can be created with 123DESIGN. I would have also enjoyed working

individually as I feel as if I could have taken my Polygon-Tail idea to an amazing place and made it extra

intricate and complex, but that was not possible while working with 2 other people and trying to realize

their ideas at the same time. In conclusion, I feel as if this Second Skin is the first of many enjoyable projects

to be morphed from ideas to reality, and I am looking forward to seeing what I can make of my new skills.

REFERENCESChing, F (1990), ‘Basic Orthographic Methods’, Drawing – A Creative Process, Van Nostrand Reinold, pp. 146 – 159.

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

Marble, S (2008), ‘Imagining Risk’, Building (in) The Future: Recasting Labor in Architecture, Princeton Architectural Press, pp. 38-42.

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

Scheurer, F, & Stehling, H (2011), ‘Lost in Parameter Space?’, Architectural Design, Wiley, vol. 81. no. 4, --. 70-79.

Sommer, R (1969), Personal space: the behavioral basis of design, Englewood Cliffs, N.J., Prentice – Hall Inc., pp. 24-35.

Thomas Heatherwick (2013), TEDtalks, accessed at <http://www.ted.com/talks/thomas_heatherwick.html>