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DIGITAL DESIGN + FABRICATION SM1, 2015 FLUIDITY

Frida Haeckner(676855)

Michelle Emma James + Seminar 1 (6)

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Contents1.0 Ideation p. 61.1 Object 1.2 System Analysis 1.3 Volume1.4 Sketch Design Proposal

2.0 Design p. 152.1 Design development Intro2.2 Digitization + Design Proposal Version #12.3 Precedent Research2.4 Design Proposal Version #22.5 Prototypes + Testing Effects

3.0 Fabrication p. 30 3.1 Fabrication Intro3.2 Design Development & Fabrication of Prototype3.3 Final Prototype Development + Optimisation3.4 Final Digital Model3.5 Fabrication Sequence3.6 Assembly Drawing3.7 Completed Second Skin3.8 Completed Second Skin Version #2

4.0 Reflection p. 47

5.0 Appendix p. 495.1 Credits5.2 Bibliography

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1.0 IDEATION

This design endeavor is named the Second Skin and will be based on 2 separate things. One is an object which the design will draw inspiration from and the other is the concept of personal space.

The material system this project is based on is “Panel & Fold”, which is being represented by a basic folding fan. As the fan is not very complicated to measure in shape, most of the dimensions were taken with a steel ruler of 30 cm (also a plastic one). The majority of the fan consisting of paper and paper-thin bamboo means that not much had an actual volume to it. This is what resulted in a fairly basic layout. As the rulers were a standard 30 cm in length, and the overall length of the fan in an open state had to be measured with a longer tape measure of 8 m. With the smaller parts with volume on the fan, the triangulation was based on the work of Miralles (1988).

All individual parts of the object could be accurately measured without compromising the structural integrity of the object as a whole, meaning it did not have to be taken apart in order for the rulers to get accurate measurements. The basis for this was to make measured drawings of the object. This might seem redundant when there is the object itself and photography, but the theory is that doing these drawings makes you be observant of every single detail of the object (Heath, Heath & Jensen 2000). Forcing you to take notice of everything and therefore getting to know you object in a more comprehensive way.

The surface area of the different parts however, could not be obtained without separating them, especially as the paper could not fully return to a flat state while still attached to the bamboo folding structure.The paper part of the folding fan was possible to measure properly once the fan had been deconstructed. It is 550 mm x 275 mm x 105 mm. As the bottom half cannot stretch out the way the top can, it is half the length. It is therefore not a regular rectangle when laid out individually.

These dimensions were then translated into drawings of the different forms of the fan, both as a complete object and when the different pieces had been separated. The dismantling of the object then made it possible to enter all measurements into Rhino 3D Modelling software for a virtual model of the object.

Fan (Open) - Plan

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370 mm

20°

Scale 1:2

30 mm20 mm

Scale 1:1

Plan (Closed)

Plan (Open)

1.1 Object

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210 mmScale 1:1

Elevation (Closed)

Section (Closed)

3 mm

10 mm

210 mm

Scale 1:1

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Plan (Open) Perspective (Open)

Elevation (Open)

Scale 1:4

Scale 1:2

Scale N. A.

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1.2 System Analysis

The folding fan is in reality quite simply constructed. Besides the painted paper which creates the folding shape, the base is made of bamboo (so a kind of grass) and a simple pin joint made of plastic allowing the folding shape of it.

The characteristics of the fan is that it is light, retractable and made to have a large surface area which can be folded in to a smaller one for convenience. If it could not be the fragile paper would break rather quickly,

Bamboo is most likely used for a number of reasons such as for its flexibility economical, However it could also be for environ-mental benefits, as it is a type of grass and grows to usable size in 7 years compared to the century of a tree.Although the bamboo parts are less than a millimeter thick (excepting the 2 at the ends which are 2 millimeters), they are not easily fractured or broken as the material is extremely flex-ible.

The pin joint which keeps the fan in its telltale shape is techni-cally able to let the bamboo of the fan to travel 360 degrees in a full circle, only stopped by the lack of elasticity of the paper.

Pin joint - Principle

Fan (Closed) - Plan

The individual paper part

Individual bamboo parts + pin joint

Main Bamboo Structure: 210 mm

in length, 2 mm in thickness

Plastic Pin Joint: 22 mm in length, 3 mm in diameter.

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Reconfigured Object: Top VIew

This is an exploration of the material system, how to change/evolve it and to “explore further potential to make a volume” out of it (Digital Design & Fabrication Lecture 2: Material Systems, Paul Loh 2015).The sketch model is made out of 2 deconstructed folding fans. It was achieved by removing the pin joints, attaching the ends to the base and twisting the fans which were then glued together to create a volume using both the paper and the bamboo parts extending outward. The result is an object which occupies both positive and negative space which is an interesting aspect to explore in any design proposals.

1.3 Volume

Reconfigured Object: Perspective ViewReconfigured Object: North Elevation

Reconfigured Object: West Elevation

Reconfigured Object: South Elevation

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Personal space acts as an invisible boundary which people respect to the best of their ability. Just because the space around a person is not occupied does not mean that people should invade it without reason. This idea is based on the fact that personal space is in fact invisible and how entering it is against soci-ety’s norms (Sommer 1969).This is reflected by it being a very limited area of the design which actually stops someone from “invading”. But the unconscious part of us that wants to re-spect personal space actually sees the negative space as a physical, personal space when in reality there is really nothing there.This idea is also based on the notion that personal space is not equal around the body, meaning people might be more comfortable having a person in one direction rather than another without varying the distance. The example being that “people are able to tolerate closer presence of a stranger at their sides than directly in front” (Sommer 1969, 26).

Sketch Design Idea #1: Negative Space

How does this respond to my idea of personal space?

General inspiration for the shape, as the fan very naturally forms like it

Although not much space is actually

occupied one does not feel like entering it

Much is exposed but also not inviting

1.4 Sketch Design Proposal

The following are 3 different proposals for the direction the design could take in the next module of the project. Each has a different materiality and a diffrent approach to the concept of personal space.

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What this design tries to convey is the varying perception around the world concerning personal space. Not only different cultures, but different people within the same culture can have varying opinions as to what con-stitutes personal space and how much is reasonable. Some cultures enjoy close personal interaction while others give strangers a wide berth. Studies showed that the English give people a wider berth than the French for ex-ample (Sommer 1969). The natural shape of the folding fan comes into play representing the differ-ent distances people find appropriate. Where in some places people can get close to your skin, and in others have no choice but to stay away. The varying distance is representational about different cultures, different peo-ple and one’s personal perception of how much space around the body is personal.

How does this respond to my idea of personal space?

Sketch Design Idea #2: Varying Distance/Personal Perception

General inspiration for the shape, as the folds in the paper create larger folds

and shapes

A clearly defined personal space which the actual person has control over regarding

distance to others

While some are fine with people rather close, others are not, which is reflected by the folds of the material

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How does this respond to my idea of personal space? This idea is centered on just the bamboo material of the folding fan and how it can bend a lot without breaking. Here I wanted to incorporate how one’s personal space can change depend-ing on individual circumstances. If a stranger invades someone’s space it gets uncomfortable, while if a loved one keeps their distance you might feel that you have done something wrong. Just as personal space “is in the eye of the beholder” so to speak, the rules regarding the space are fluid. Ever changing without ever breaking. Here the perception of everyone changes, even though certain rules about space still apply. The suspension of personal space during intimate moments with loved ones are associated with lower lighting for example (Sommer 1969), which is really about shutting out the world in that sense and ignoring its norms.

Sketch Design Idea #3: Flexibility/Bending without Breaking

General inspiration for the shape, as the bamboo can stretch and be pli-

ant, so can our concept of personal space

Here the material can withstand the invasion of

its space without breaking

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2.0 DESIGN (In Collaboration with Zeyu Li)

The second phase of this project is the refining of design suggestions and ideas. This is also the first of 2 collaborative phases, moving forward with one idea in a group (2 people in this particular case). The first logical step here would be to try to find common ground in any of the previous design ideas from the first part of the project. We started with trying to mesh our opinions about personal space and go on in a design direction from there. The main thing we took with us which was found in both our notions of personal space was that it is not the same for everyone, and differs regarding the person trying to enter the space. Here we went with the notion that strangers is something to always keep away whenever possible in order to feel comfortable, and allow others close if you know or like them.

Here we started to look at outside information when thinking about how to proceed. Particularly the concept of developable surfaces, and how it related back to the folding fan. This was relevant to how a volume had been created with the expanse of the folding fans when a reconstructed object. This has also been used as an example of how to create a developable surface using planar sheets, attaching them to each other and developing a new surface from these sheets (Pottmann, Asperl & Hofer 2007).

This is when we started thinking about how we wanted to translate the fan to a design, and as the Second Skin was to deal with the volumetric shape of the body and create spatial/ emotional effects (Digital Design & Fabrication Lecture 4: Design Effects, Paul Loh 2015), the surfaces needed to develop in order to do this.Personally I do find it slightly harder to use CAD rather than designing the old fashioned way which has not really lost its charm for me despite advancements in technology. I could however collaborate on this as it was now a group effort and base the information on sources of information about CAD and CAM. Particularly the fact that the computer generated designs did not have to be based on quantity of information but rather the clarity of the concept we want to convey (Scheurer & Stehling 2011).

Deconstructed Fan

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2.1 Sketch Design DevelopmentThe development of the Second Skin design began with consi-dering the object the concept of “Panel & Fold” was based on; the folding fan. We wanted the original object and its shape not to get lost in the design process until the concept of a fan could no longer be seen. The design started with an element both utilizing folds and made of a material reminiscent of a fan, such as paper or board.This element would span the body in a twisting spiral shape which is the natural contour a folding fan takes after being deconstructed. We wanted to make sure this part of the design was made up of a significant space/volume, as when we started experimenting with personal space it was discovered to be rather extensive (1 m). This obviously changes regarding circumstances, but excluding crowded areas such as public transportation it was found to be strange if an unknown person entered this space when there was alternatives.

The personal space we measured obviously has different layers, which we wanted to reflect in our design. Where, for example the limit for strangers was about a meter, a work colleague might have to get closer than that, and people have to find such interaction okay in or-der to function in society.

As there are different spaces for different people in our lives, the skin has different

levels of interaction with the outside

Personal space - DesignDesign - General shape

Design - General shape

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As only the paper shape of a fan seemed a bit simple/un-evocative for the design, we stated to explore the concept of personal space further, specifically the way that the space changes depending on the person/people trying to enter your personal space.

As the folding-silhouette part of the design was meant to be rather rigid and unyielding (as personal space is regarding strangers) we wanted another part of the design to represent the fluidity of the space. Some people you want close to you, others not and some you might want to expel from the space after they entered it.

This we wanted to represent with a more flexible part on the op-posite side from the folded fan structure, where 2 different states could be utilized, one for closeness and one for distance and everything in between.

Here the design became 2 separate but equal parts, reflecting the contrast of reactions to diffe-rent people. One of the proposed designs is based on the fluidity of the space, the changing nature of it, while the other focuses on a sort of on/off state. In other words; one state which allows people close and another which keeps them away depending on who is trying to enter your personal space, so-meone you know or someone you don’t.

The 2 different suggested parts of the design - Apart

The 2 different suggested parts of the design -Together

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The first design proposal is based on the concept that your personal space chang-es depending on who is trying getting clo-se and enter the space. If you do not want someone near you, you can enclose that part of yourself, which indicates that you do not want anything or anyone there.The other part represents the unyielding sense that we do not want strangers in your space as they might not have good intentions towards you and as in daily interaction there will be far more strangers than people you know no matter where you are.

Front View - Part 2 OpenFront View - Part 2 Closed

Top View - Part 1

2.2 Digitization + Design Proposal Version #1

Front View - Part 1

A flat surface which can be opened to create a positive space at will. Can stay down if you

allow someone in to your space

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Side View - Part 2 Closed Side View - Part 2 Open

Back View - Part 2 Closed Back View - Part 2 Open

Isometric View - Part 1

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Concept of the Precedent

This is a part of the VEASYBLE collection by the design collective GAIA. It is a “set of wearable accessories that can be converted at a touch into a means of isolation” in any and all environments (GAIA, 2009). Not only is the practical side of the precedent relevant, but also the conceptual side which is very concerned with creating a per-sonal space which only you can be in unless you invite someone in and is very isolat-ing. The design which looks like a handbag when closed, creates the illusion of being alone in a space even though you might be surrounded when unfolded. This feeling of having space is to me just as important as actually having it.

Description of Precedent

VEASYBLE by GAIA Isolation, Revelation, Intimacy, Contrast, Evolution

2.3 Precedent Research

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How this Precedent has Influenced our Design

The first instinct was to use the precedent example quite literally as it was a good example of what we really wanted to achieve. However, as we wanted to move away from a too similar interpretation of the VEASY-BLE but still retain the essence of it the design evolved to a 2D version of itself. Rather than creating a sphere-like dome over the shoulder, the se-cond design utilizes a flat surface that can be bent into another shape, which uses negative space to protect the personal space around that part of the body.

With separate parts protruding it gives a “stay away” feeling which the precedent does not, even as it protects personal space. Even as this is the result in the open version, the closed does not give a similar sensa-tion which enables the user to choose whether to allow a person coming close into the space or not, similar to the precedent design.

Isolation, Contrast, Evolution, Fluid, Changing

Key Concepts of Application

VEASYBLE Project in detail (GAIA 2009)

2D version extrapolated from precedent example

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Front View

Back View

Top ViewRight Elevation Left Elevation

2.4 Design Proposal Version #2

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As the 2 different parts of the design are rather different, a problem concerning this is how to connect them into one coherent piece. One way we have explored is to ”fade” into one part from the other. Using separate parts from one side and adhere them to the other part in an escalating fa-shion will make the connection better from an aesthethic point of view.

Separated it was easier to understand the concept of abstraction and reduction for the purpose of 3D modelling. For the desig-ning of the wrap-around part it was clear to see the mesh surface which created the planar shape of it, and how that related back to the notion of abstraction. Here I thought about how the NURBS technology allowed for a so much simpler approach.

The idea of reduction however seemed to me to be the more interesting alternative. How it is not about “reducing the amount of information but rather about finding the optimal way to transport it” (Scheurer & Stehling 2011), sounds to me to be a more preferable way to work, especially by reducing any and all redundancies to make ones design more manageable. This concept we got some assistance with on the second part of the design, making sure that unnecessary entities were not inclu-ded.

Isolated Elements

Top View

Right View Left View

Front View

Isometric View - Part 1

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As the part of the design inspired by the “Panel & Fold” concept was decided on and experimented with first, both materials and techniques were chosen. As stiff paper or thin cardboard worked best the second part was to decide how be to make it stand as a second skin. Here metal wiring was found to be both stiff enough to act as a skeleton and flexible enough to mold to the shape of the human body. As paper did this better than cardboard we de-cided to go in that direction regarding materiality. Color was also discussed but thought to be a slightly later consideration, after any and all revisions.

The more difficult part was to find a way to make the second part of our design to do what we

wanted. We started with the concept of contrast to the first part, which resulted in something soft and pliable. Here we decided that a softer plas-tic might be a good fit, and experimented with

that combining the wire skeleton with thin plastic. The effect was not as good as anticipated, and we started looking at other materials such as thin

paper to echo the other part of the design.

2.5 Prototypes + Testing Effects

Part 1 SketchRight Elevation Experimentation with Part 2

Top View

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After the experimentation with how softer materials would look we decided to use inspiration from the precedent and go in a different direction. The precedent does not use negative space but actually encloses the user in a sort of bubble which no one can enter.So we tried going in such a direction with an element which starts out flat but can be opened up into a sphere-like shape through a mechanism. Rather than enclosing the entire person like the Veasyble design, we were thinking more of a deterrent for someone invading your personal space when you do not want them to, rather than preventing them from entering it in the first place.Here the 2 parts of the design started to look a bit similar as paper was the natural choice from something which folds from a 2D to a 3D shape. However, the shape looked more like half of or three quarters of a sphere rather than the complete thing in order to accomodate the arm to which it would be attached.

Precedent by GAIA

General shape of precedent-

inspired design, open and closed

Back Elevation - Open

Back Elevation - Closed

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In this version of our design we started playing with layers on the folded fan part of the design, and the positions of those layers. Several layers we found much more visually effective than just one resulting in a multi-layer approach. How the layers are to be positioned relating to one another is also something that helped with the aesthetic of the design.A softer shape originating from a single point gives the paper and almost ripple-like look, which helps with making the shape of it fluid. We found it really interesting to play with the contrast of rigid and not, pliable and not. One of the parts has the looks of it but not the ability, while the other has the ability of it but not the looks.

Concept sketch design

Concept sketch model

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The development of the shoulder element started with some handma-de sketch models to see the effect we could get out of them. As the first attempts went well regarding a harmless look when flat and more off-putting when opened, we moved on to a more advanced/refined model for it.

Though we tried to make it with slightly shorter and thicker elements to see what difference it would make, we felt it lost some of its ability in enclosing personal space. As it has to be able to create negative space which is hard to enter, it cannot be too close to the body without the purpose of it being lost in the design phase.

The more regular shape which the machine cut did give it a more omi-nous look when opened with sharper protrusions, just the aesthetics of it is not enough when relating the second skin to personal space.

Refined sketch model

Sketch model - Open

Sketch model - Closed

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Final Prototypes

Refined sketch model - Part 1 Refined sketch model - Part 2

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Final Testing Effects

The effects we tried for the prototypes mostly had to do with light (be-sides different dimensions). As the second skin will have a light compo-nent when finished we wanted to see how different lighting changed the atmosphere of the design.The version below where we emphasized the sharp ends gives it an almost dangerous look, even though the actual prototype does not do that on its own. While the version next to it emphasizes the geometry of it, with a more rounded shadow which does not give off the same sharp shadow.The paper prototype could give a rather ”fat” and a rather ”thin” look depending on how light hit it. With the larger shadows it gives off a more imposing presence, even though the elements are only 2D and does not really occupy much space.

Refined sketch model - Part 1

Refined sketch model - Part 2 (thinner shadow) Refined sketch model - Part 2 (thicker shadow)

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3.0 FABRICATION (In collaboration with Zeyu Li)

3.1 Fabrication IntroOur design proposal for Module 2 was one design with 2 different parts. This was in response to our opinion of personal space, and how it is not one-dimensional. Some people, like strangers you want to stay out of your space, while loved ones you most likely want to invite into your space.We wanted to incorporate this fluidity into our design, and combine it with the folding motion of the fan, which was our original object.The first part was supposed to echo the fan, with a stiff paper-like material and several layers to protect personal space, as this part was supposed to re-present rigidity, and the ones you want to keep away. This part would extend over one shoulder down the body towards the legs.

The second part included the folding motion of the fan we wanted to in-corporate. This represented the different feelings you have about people depending on who it is. It would have a closed version and an open one to represent these different feelings.

The main feedback we got for our design proposal was that half of our design was interesting and the other half was not. The larger wrap-around part was found to be boring and a too literal translation of the object and aesthetically boring.

The prototype for the flexible shoulder part however was worth pursuing and developing further, and it had to take the place of the first part of the design.After the feedback we decided to scrap the wraparound part completely instead of working on it and trying to make it interesting.

The shoulder part we moved on with was a thin screen board with metal wires to hold its shape when extended. As this was the part which really encapsulated what we thought of personal space it also made it easier to focus on how to relate the design to that concept, and as the open and closed state was still reminiscent of the folding fan it could work on its own.

Model at end of designing phase

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3.2 Design Development & Fabrication of Prototype Version #2

The main things we wanted the main design of the Second Skin to carry with it, was the sense of the object it was based on (in other words the folding fan) and the concept of Fluidity which had beco-me our staple for thinking about personal space.As the piece which received good feedback did translate well regarding these 2 factors, we entered an extensive testing phase to try and find the shape which was optimal for both functionality and aesthetics.

The testing phase when we further developed our idea, was mainly making as many and as varied shoulder elements as possible, in as many and as varied materials as possible. This was to see what worked and what did not. How long the protruding bits could be and still support themselves. How thin the material could be and still support itself. How thick a material could be before the bending joints stopped working. How short the protruding bits could be before it lost all visual impact. These hypothesis’ were tesed and definetively answered.

The smallest ones with the shortest barbs we produced with the laser cutter, were found to have lost too much of the stay-away effect which we were going for. Only the bending motion was intact, and the 300 gsm paper was found even at this size to be slightly too flim-sy. But the boxboard on the other hand was found to be too thick for the purpose. It held up beautifully but the supposed joints started to break as soon as we tried to bend them.The body of it was found to have a nice size for shoulders, but lack-ing a way to fit on the arm properly.

Refined sketch model: Screenboard

Tester prototype: 250 gsm paper

Tester prototype: Boxboard

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Longer ones were also made to test the fit and length on the body to protect personal space. The ones produced however, had spikes too long for the main body. With the thinner materi-als they could not support themselves adequately, and though the boxboard could do this it was not flexible enough to get around the body.Another testing part worked better, one with a wider body and shorter spikes. It could reach over the head and demonstrate the space we wanted to protect very well. It was in paper, which made it flexible enough, but a slightly thicker material was decided on.

Tester prototype: Boxboard

Tester prototype: 300 gsm paper

Tester prototype: Boxboard

Tester prototype: 300 gsm paper

Tester prototype: 300 gsm paper

Tester prototype: 300 gsm paperTester prototype: 300 gsm paper

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3.3 Final Prototype Development + Optimisation

The effect we wanted we had pretty much achieved during the designing of the shape during Module 2, with it giving off a sense of defending ones space when open (largely due to sharp edges sticking out), as it was very visually dynamic.The goal here was to intensify this effect with longer protruding bits and an overall enlargement/multiplication of the design element. The effect we wanted is not so much about actually protec-ting space by making the design large in positive space, but rather a representation of the fluid nature of ones personal space and all its’ nuances.

This is done by manipulating the elements to represent how you feel about your space at that particular moment. This motion is also a throwback to the folding fan which the design is based on, as we did not want to lose it completely.

The focus on optimizing the design for the fabrication process was to give it cleaner lines and finding a better material for the bases than in the testing phase. Either too thin or scorching the edges too much, the material was hard to decide. A form of screenboard was eventually found and tested, which worked at a 0.75 mm thickness. The 1 mm would not bend in the tests, and the 300 gsm paper would not prop up properly.

Final model: General shapes when closed

Final model: General shapes when open

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The issue of saving and using the material at hand did come up during the fabrication process. The first point was that the supply store only had 2 sheets of the desi-red material, meaning next to no room for error with no good back-up material having been found. The next was that the sheets were slightly smaller than the laser cutter template, meaning we could not place them in the exact corners of it. The template for the shoul-der pieces had to be modified for this purpose as they reached the end of the template when placed hori-zontally. All the pieces were then placed at the corners of the actual materials measurements for an optimal use of material, and to save as much as possible in case of more prototyping needs.

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3.4 Final Digital Model

Final model: Closed front elevationFinal model: Closed left elevation

Final version of the Second Skin design. what remains from the Module 2 design is now the one element present in different sizes. Two smaller parts sit on the shoulders while a larger one sits in front.All can be changed into an open version of themselves with the help of metal wire hidden under the black coloring. This is Second Skin is represen-tational of the different personal spaces people have depending on who is closing in, with the flat surfaces welcoming anyo-ne you want to you while the open version warns strangers away.

Material limitations is a large implication on the Second Skin Design. Although we used fabric by cutting by hand, if we were com-pletely limited it would be different. The knife of the card cutter would most likely catch in the fabric while the laser cutter would simply set it on fire. These limitations may be hard to consciously realize, but the implications for material choices are huge in a design. Limiting those choices has shaped our design since we were told of the assignment.In other words, the impli-cations of digital fabrications when desig-ning like this is that a whole new world is open to us, but that world, just like this one comes with its ”own possibilities and limita-tions” (Iwamoto 2009).

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Final model: Open left elevationFinal model: Open front elevation

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Final model: Open front elevationFinal model: Closed perspective

Final model: Open perspective

Final model: Front detail (open)

Final model: Shoulder detail (open)

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3.5 Fabrication Sequence

Step 1: Lasercut Elements Step 2: Glue Fabric Step 3: Trim Fabric

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Step 4: Lasercut Bodice Step 5: Punch Holes

Step 7: Make Finishes

Step 6: Glue+Trim Fabric

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3.6 Assembly Drawings

Connections between parts:

Slid-in slots

Glue

Aesthetic ribbons

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3.7 Completed Second Skin

Final model: Open front view

Final model: Open side view

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3.8 Design Development & Fabrication of Prototype Version #2

The first attempt at a final Second Skin design did not turn out the intended way. Although working relatively well in the testing phase, the assumption that covering it with a light fabric would not weigh the screen board down significantly was a huge mistake. With it the metal wiring glued to the board could no longer cope with the weight and no longer retain its’ shape.Modifications had to made, as well as a remake of the digital fabrica-tion process for the sake of a functional Second Skin. The first modification decided on was the exchange of joint types, into a fabric one which would give the design more flexibility. The second decision was to discard the shoulder elements of the same shape as the front one, due to feedback that they did not add anything to the design but rather retracted from it.This simplified the design and made it possible to use a thicker material which could withstand a layer of fabric as the joint would not be made of that material, but rather fabric. Boxboard became the material for the now 2 main pieces, as the bodice was also remade to follow the shape of the body better.

Final model #2: Closed front view

Bodice #2 out of BoxboardFront piece #2 out of Boxboard

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Final model # 2: Open front view

Final model #2: Open side view

Final model #2: Open perspective view

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3.9 Completed Second Skin Version #2

Final final Second Skin: Front

Final final Second Skin: Front Close up

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Final final Second Skin: Folding step 1

Final final Second Skin: Folding step 2

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Final final Second Skin: Folding step 3 Final final Second Skin: Folding step 4

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4.0 REFLECTION

The introduction to the world of digital and virtual design processes can be, and have been to me quite daunting. The foundation for all the digital design and fabrication methods learnt this semester has been the Rhinoceros software and to me, without a strong foundation it is impossible to make something great.

The videos introduced in the subject, as well as the software workshop was useful in learning basics if one was not familiar with Rhino, but it was insufficient to render the complexity of the final design without any assistance. It works out if/when at least one of the group members has experience, but it was very challenging if not already competent in the software.

Regarding my group and experience, it was convenient to have a group member possessing the relevant skills. If done by someone like me (who was introduced to Rhino in this subject) the 3D models would probably have been a lower quality, which is a good motivation to learn important programs outside the classroom. It was the most challenging part, but as it is the most useful aspect of the digital fabrication process (as the machines do the actual making), it’s not surprising that it would be the hardest.

As our design didn’t turn out as intended, there were many things to learn from this process, the successes but also the failures. The biggest problem was that the design worked well in the prototype phase, but failed in the actual Second Skin model. Here we learned that a final version should first be made as a tester, retained if working but otherwise modified. It was the assumption that it would work which led to a non-functioning physical model.

The material mechanism worked on its own, but failed to cope when a thin fabric covered it. The thinnest fabric available was chosen to negate such an effect, but it was still too much and this was where assumptions led to the failure, which is the largest lesson learned during this entire course.

Final model: Closed perspective

Final model: Open perspective

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The most important thing (in my opinion) regarding technol-ogy and how it has impacted our design processes and fabri-cation techniques, is not the actual tools but rather the un-precedented flow and exchange of information. As debating and think tanks is how technology advances in the first place, it is the key stone. The exchange of information has opened up many to so many new ideas, as it has been stated; “20 years ago, the very idea that hundreds of thousands of profes-sional and amateur scholars from all over the world would col-laborate … and make the information available to everyone … would have been unthinkable” (Rifkin 2011, 116).

This to me is what is constantly changing how I look at design and the built environment. An ever evolving thing, the more I learn the more my opinions change about digital design. To me, to make what you wanted was easier in reality because the virtual environments had limitations reality did not. Even though losing touch with crafting has been the curse of the architects, simply designing and leaving fabrication to others (Dreamer & Bernstein 2008), to me just making a model and creating as you go has let creativity free.

But the concept of “merging production and design” (Dream-er & Bernstein 2008, 40) into one entity does have its appeal as well. This course (and this text) is rather illuminating regard-ing the fact that the limitations of the virtual are diminishing, and opening one’s mind can make the fabrication of designs easier and more accessible than before.

Final model #2: Closed front view

Final model # 2: Open front view

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5.0 APPENDIX

5.1 Credits

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5.2 Bibliography

Bernstein, P, Deamer, P 2008, Building the Future: Recasting Labor in Architecture, Princeton Architectural Press, pp 38-42

GAIA, 2009, VEASYBLE, viewed 29th March 2015,http://www.veasyble.com/projecteng.html

Heath, A, Heath, D, & Jensen, A 2000, 300 Years of Industrial Design: Function, form, technique, Watson-Guptill, New York, USA.

Iwamoto, L 2009, Digital Fabrications: Architectural + Material Techniques, Princeton Architectural Press, New York, USA.

Kolarevic, B 2003, Architecture in the Digital Age - Design + Manufacturing, Spon Press, London, England.

Miralles, E, Pinos, C 1988, How to Lay Out a Croissant, El Croquis, En Construccion pp. 240-241.

Pottmann, H, Asperl, A, Hofer, M, Kilian, A 2007, Surfaces that can be built from paper, Architectural Geometry, Bentley Institute Press, n. a.

Rifkin, J 2011, The third Industrial Revolution, Palgrave Macmillan, .pp107-126.

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

Sommer, R 1969, Personal Space: The Behavioral Basis of Design, Prentice-Hall, Englewood Cliffs, N.J., USA.