module three

VIRTUAL ENVIRONMENTS STUDENT JOURNAL

NICOLE TAN, ALIX DE LA FUENTE, LINUS QU

MODULE THREE, FABRICATIONCREATING A SECOND SKIN


THE BRIEF

M3; DEVELOPING THE BRIEF

DESIGN CONCEPT: ‘SAYING HELLO’A G E N D A : To create a second skin that reflects the physical and emo-tional changes that occur when ‘saying hello’. This includes the body’s movement when going for a handshake or a hug along-isde the emotional aspect of wanting to impress albeit feel-ing protective of vulnerable areas. The design will also allow for changes in personal space depending on the relationship be-tween the two people involved and will enhance the experi-ence of ‘saying hello’ for both the wearer and the observer.

FOR THE WEARER:

•Showing off their best side

•Provide a sense of security in vulnerable areas.

•Ability to adjust the second skin based on their familiarity with the second individual

•Ability to adjust the second skin based on their emotional state (defensive, friendly or intimate)

•Space to interact with their sur-roundings

FOR THE OBSERVER:

•An indication to the emo-tions of the wearer and hence their personal space boundaries

•A sense of comfort and friendliness when approach-ing the wearer.

DESIRED EFFECTS:

T R A N S F O R M A B I L I T Y

M O V E M E N TT E R R I T O R Y

C O N T E X TThe design will have to take into consideration how the body extends, moves and interacts during the process of saying hello. Through understanding this process, the design will be able to enhance the exten-sions and accomodate the change in personal space.

Transformability is an im-portant factor as it perfect-ly represents the notion of personal space- stability in change. Thus, the design will be able to act as both a solid structure or a moving mechanism to allow for these changes in personal space.

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Interaction and relationship is im-portant in the brief and hence the de-sign will need to be able to clearly de-fine the ‘territory’ for both the wearer and the observer. Furthermore, the design will accomo-date for the move-ment between the two people dur-ing their meeting.

L E C T U R E - L I N K


PERSONAL SPACE

M3; DEFINING PERSONAL SPACE

Sommer’s reading inspired us to explore the con-cept of intimacy and distance which changes over time. That is, the changes in arrival and set-tlement distance within one’s personal space de-pending on the relationship between two people.This notion of change then lead us to explore methods of movement that can be re-enact-ed using the skin and bone system. It was im-portant to incorporate movement of some ele-ments of the second skin to facilitate this change in personal space depending on the exter-nal environment as well as internal emotions.

THREE THEMES OF PER-SONAL SPACE:

•Intimacy and distance (ar-rival and settlement distance)

•Change in personal space depending on relationship

•Visually attractive and ap-pealing objects reduce your personal space and individual distance. They sense of secu-rity, safety and predictability

When saying hello, our per-sonal space on our right hand side is much smaller than our personal space on our left.

DOES NOT EQUALLY EXTEND IN ALL DIRECTIONS.

We are unable to see things happen-ing around our back. This unknown fac-tor from the lack of sight causes us to be protective of spac-es around our back.

Our personal space in front of us is much smaller than the space our back as we only allow our close friends hug us from behind or put their arms around our shoulders

The backbone is another key v u l n e r a b i l i t y .

Social custom of shaking our right hand when we meet someone

The left hand side houses the main vulnerability of our body – the heart.

For most people the right hand is the ‘preferred’ hand with more c o o r d i n a t i o n and strength

SIDE VIEW

TOP VIEW

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MATERIAL SYSTEM

M3; THEMATIC INSPIRATION FROM THE KITE

Our design will use a similar idea where the bone will be the support system and the skin will be the element that facilitates an action or an effect. The skin and bone concept that we de-velop will draw from the kite and dis-play several combined properties like strength, flexibility, texture and geometry.

The kite is an object that efficiently uses materials making it seem sleek, light-weight and minimalist. Similarly our design will achieve the same effect where the second skin will seem effortless to carry however still display stability and strength.

Kite system explored in Module 1 inspired our brief. Although the kite may seem static, its whole design is based on the idea of allowing move-ment and handling change in the environment. It handles this change through the rela-tionship of the skin and bone system where the wooden rods give rigidity whilst the skin provided the flexibility needed to ‘catch’ the wind.


MATERIAL SYSTEM

M3; PHYSICAL INSPIRATION FROM THE KITE

ROD AND EYELET CONFIGURATIONThe rods and eyelets enable the fabric of the kite to be stretched in tension. The rods ‘push’ against the eyelet which stretches the nylon fabric of the kite.

S K I NFabric is in constant tension once the rod is attached to the eyelet.

B O N EInternal rods at the edges of the kite provide dimensional stabil-ity and allows the kite to hold its shape during movement.

S K I NThe edges are folded over and sewn to create a ‘pocket’ for the internal rods of the kite.

B O N EThe rod of the kite is a rigid but also slightly flexible material. It is slen-der and lightweight but also strong enough to resist internal tension forces.


PRECEDENTS

M3; A BLOOMING FLOWER

01_BEAUTY AND CHANGE

Our design concept is about saying hello and hence our second skin is about evok-ing that sense of familiarity and comfort which brings people closer. Thus we used the blooming of a flower as a precedent for our skirt, the sash and the collar of our second skin. The concept of showing off your best side and creating a volume similar to the ar-rangement of the petals to create a volume.


DESIGN IDEA 1

M3; PREVIOUS DESIGNS

05_CAGE CRINOLINE

E L E V A T I O N ( F R O N T )M O V E M E N T

PLAN OF PETAL ARRANGEMENT

A X O N O M E T R I C

This first prelimi-nary idea explores

movement through the use of hinges

and joints. We explored the flower

precedent however decided a more unconventional approach was

needed.


PRECEDENTS

M3; CAGE CRINOLINE

02_CAGE CRINOLINE

Also known as a stiffened petticoat or a rigid skirt, shaped structure of steel used to shape the skirts of women’s dresses and was especial-ly prevalent during the 1800’s. The increasingly wide conical structure was a desired fashion statement of the time however the crinoline fabrics were not stiff enough to support their own weight and would result in a collapsed petticoat sitting above it.

Cage crinolines can be made into various sizes and shapes. Materials needed include hoop steel, twill fabric or ribbon to use as tapes and sewing equipment. The fabric must be cut into strips with pockets sewn in for the steel to be inserted into them. This was a main precedent for the structure of the skirt and the collar. It creates a volumetric skin and bone structure rather than a planar one like the kite.


PRECEDENTS

M3; OLAFUR ELLIASON

This is a particularly interesting concept as personal space involves the interac-tion of two ‘players’ and hence our de-sign should accomodate for this instead of simply for the wearer of the second skin

Design to accomodate rela-tionship, the collective experi-ence and the singular experience.

Olafur Elliason created a constructed real-ity that allowed the user to lose their tradi-tional space of orien-tatation and required them to renegotiate social boundaries in a new space where sight was impeded.

03_ THE ROLE OF PLAYERS IN DESIGN

L E C T U R E - L I N K


PRECEDENTS

M3; THE ONION

HUMAN COMMONALITIES

B E H A V I O U R

PERSONAL CHOICES

CORE VALUES

04_LAYERING 05_ENCIRCLING GEOMETRY 06_HUMAN BEHAVIOUR

The physical layering and peeling of the onion was a precedent for our skirt. The layering effect creates depth and density which is a design used in both our skirt and sash.

The encircling geometry of the onion layers was our inspiration to create volume and movement. Moving in an element of our second skin in a circular movement was both fluid and graceful instead of mechani-cal and stiff like a rigid skin and bone system.

The ONION THEORY OF COMMUNICA-TION is another aspect that inspired our design. It explores the notion that as relationships develop, interper-sonal communication moves from relatively shallow to levels of deeper, more intimate communication. This is a process of self-disclosure in stage and our design aims to reflect that.


DESIGN IDEA 2


The purpose of the collar was to al-low the wearer to show off their best side which we determined was the face. The face convey’s emotion, personality and character which are essential in interpersonal connec-tions and need to be emphasised

The floral sash was our exploration of the concept of ‘differentiated ef-fects’ as mentioned in lecture 4 and is used to provide the sense of pro-tection for the wearer especially near the vulnerable heart. Each petal grows larger and denser as it approaches the heart providiing this sense of protection but not hostility.

The gap that we created in the skirt provides the interface for connection. It provides the observer with an area on the right hand side of the area where they can fit into to shake hands.

As the personal space on the left hand side is significantly larger, the skirt flares out to-wards the left to di-rect observers to the right hand side.

Layering was in-spired by the onion skin and these mov-able layers enable various configura-tions of the skirt de-pending on the re-lationship between the two individuals

The collar extends to-wards the back to block off the shoulders and the back and to encour-age observers to move to the front where ‘say-ing hello’ can occur.

PERSPECTIVE VIEW (BACK) PERSPECTIVE VIEW (FRONT)


DESIGN IDEA 2


E L E V A T I O N

P L A N


DESIGN EFFECTS

M3; I N T E R A C T I O N

CLOSE FRIENDACQUAINTANCEENEMY

The skirt is designed to be ro-tatable on all four layers. Thus different configurations can be achieved depending on the external environment.The colours of the layers, the vest and the sash will be soft, inviting colours that repre-sent the theme of saying hello. The arrow indicates the direction in which the wearer is looking.

The gap remains on the right hand side however the layers have moved to cover the gap to prevent access to the wearer.

The gap is on the right hand side - in position to facilitate a handshake. The layers are on the left hand side to prevent access to the left of the body.

The gap has moved towards the front of the body- in position to facilitate a hug. The layers have moved to the sides and back.


1:1 PROTOTYPES

M3; THE WIRE SKIRT

We constructed the first pro-totype of the skirt’s frame out of wire. The wire was fairly thick and very diffi-cult to shape into curves which resulted in the skirt and the petals forming an uneven and jagged edge.

PETAL SKIRT

We also used wire to construct the waistband however that caused wearing and turning the skirt to be very difficult and clumsy.

We used wire because of its rigidity and ability to sup-port the fabric and create tension. However, it was heavy and did not pro-vide the visual effect of beauty,change and flexibility

From this prototype, we realised that we could not use wire to construct the frame of the skirt as it was not malleable enough and also it was quite heavy once the whole outfit was put to-gether. We needed to find material that was just as efficient as a support system as wire however it must also display properties like being lightweight and easy to construct and connect elements.

Joining the wires together was messy and unattractive and also a very hard process. It was difficult to bend the wires around the outer frame whilst the end product of this was also not neat or precise

D E S I G N O P T I M I -S A T I O N

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1:1 PROTOTYPES

M3; THE WIRE SKIRT

The use of the nylon fabric was efficient because of its lightweight nature however issues arose because the material was too thin and so the wire would create holes in it from the tension.

The connection of the petals to the waist of the individu-al needed to be im-proved. Hooking wire around the waist-band did not work. The movement was unnatural and forced

Connecting the fabric to the frame also needed to be improved. We thread-ed the wire through the fabrid however this left the edges were messy.


The design of the skin needs to be improved in several ways: It needs a better connection to the bones of the system whilst al-though nylon is a lightweight ma-terial, it is easily creased and torn.

Furthermore, the connec-tion of the petals to the skirt needs to be redesigned to en-able a smoother movement.

PETALS

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1:1 PROTOTYPES

M3; THE FABRIC SKIRT

We used lightweight balsa wood sticks as the frame of the skirt. they were placed in ‘pocket’ sewn into the fabric like the kite. A bigger balsa wood rod was used for the longest edge whilst smaller sticks were used for the shorter edges.

Although the balsa wood was very light-weight, it did not have the flexibility need-ed to stay in tension without snapping.

The elastic band was used as the waist-band was very effi-cient and easy to sew


The cloth fabric was too heavy for the balsa wood whilst the balsa wood frame was too brittle to maintain the tension needed. Furthermore, we needed to develop a way for the frame to stay constantly in tension in all axes.

However, this prototype’s successes (the elastic bank and sewing the fabric) will be maintained for future models.

CONSTRUCTION PROCESS AND PROBLEMS


1:1 PROTOTYPES

M3; CREATING TENSION THROUGH BALLOON STICKS AND EYELETS

PLASTIC BALLOON STICKS

10MM EYELETS

F A B R I C


To maintain the tension necessary for the skirt to stay upright, we revisited the kite and its method of using eyelets and rods. Utilising eyelets enabled the balsa wood rods to be bent in tension which then enabled the fabric to be stretched.

The eyelets were stitched to the fab-ric at a shorter length than the wood-en rod itself. This bent the rod which in turn applied tension to the fab-ric and enabled it to be stretched.

The eyelets were 10mm which was suf-ficient to place the wooden rod in it.

Although the balsa wood rods were light-weight, they were unable to be placed under constant tension as they would eas-ily snap. Thus, we decided to change the frame of the skirt to one made from bal-loon sticks as they are both rigid and flexible.

Furthermore, the cloth fabric too seemed too heavy and dull hence we decid-ed to reuse the nylon fabric utilised in our first prototype as it better represent-ed the visual image of lightness and flow.

The nylon is a light and thin fabric which is easy to stitch the eyelets onto whilst it is also slightly opaque which enables the bone system to be partially seen.

C O M P O N E N T S :E Y E L E T S

NYLON FABRIC

PLASTIC BALLOON STICKS


PROTOTYPES

M3; C O L L A R


The balsa wood was a good material to use for the frame as it is lightweight and will be easy to carry. However, better joints needed to be made whilst the 1:1 model will use rods with a larger diameter

The member here enables a strap to be placed and the frame to be carried

Previously, there was also a frame system extending towards the sides however once the eyelet and rod sys-tem was tested and work-ing, the ‘wings’ could be held in place simply using tension instead of a frame.


MATERIALS NEEDED

M3; F A B R I C A T I O N

G E N E R A LT O O L S :

NEEDLE AND THREADSUPERGLUEDUCT TAPECHISELMEASURING TAPESCISSORSELASTIC BAND

E Y E L E T S ROYAL BLUE RIBBON BLUE NYLON FABRIC

BEIGE POLYESTER MESH ROYAL BLUE TAFFETA BALLOON STICKSBALSA WOOD RODS


THE PETALS


Cut the petals according to the measurements ensuring you leave sufficient room at the top to stitch the elastic. Furthermore, it is important to ensure your balloon sticks are long enough to span the length of the petal (in this case we are using 50cm sticks).

M E A S U R E M E N T S

Petal once it has been constructed

Petal when laid out flat and deconstructed

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Using a sewng machine, stitch the elastic band onto the petal by created a ‘pocket’ using the 5cm tab.

Cut the duct tape into a neat, square piece and cut a hole where the eyelet will be affixed. (Thread was used to connect the eyelet to the fabric but under the tension, the thread would snap). Affix the eyelets in a North, South, East, West configuration at the edges. S

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Attach the balloon sticks to create a cross and load them in tension by plac-ing them into the eyelets at each corner of the petal


THE SKIRT


M E A S U R E M E N T S

Skirt when laid out flat and deconstructed.

Tailor the measurements of the waist to the individu-al wearing it however add 5CM to create the pock-et for the elastic band. Also ensure an extra 2CM is left at the edge for hemming. Repeat this process for all three fabrics and join the three fabrics at the waistband

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PLACEMENT OF EYELETSOnce the fabric has been cut to the right dimensions and the elastic band sewn on, begin placing the eyelets at reg-ular intervals around the outer and inner edge of the skirt. In this case, we folllowed the crease lines created from the fold-ing of the fabric into its packaging to minimise the number of crease marks on the skirt as it will be stretched out in tension.

Place the balloon sticks in the eyelet to craete tension and this will form a gird like system on the bottomside of the skirt

Fold and sew (using a run-ning stitch) the hem down to create a pocket which hides the duct tape squares and the eyelets. It will also create a smoother, more rigid edge.

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S T E P 1


THE SKIRT


The edges of the ‘gap’ need to be constructed as a different system to the grid.

Along with eyelets being placed at the edges of the skirt, an eye-let also needs to be placed where the two sticks meet in the middle.

This system is more similar to the ten-sion system utilised in the petals.

E Y E L E T & R O D


THE COLLAR


R E A D I N G - L I N K

Week Eight’s reading introduced us to Lapped Joints in the ‘Plywood Delaminations’ exhibit. These joints provides a seamless and strong con-nection which we utilised in the con-struction of the upper body collar.


THE COLLAR


S T E P 1Construct a rectangular wooden frame out of balsa wood and the lapped joints. Cut the mesh to encase the frame as well as cutting two triangles to be placed on either side of the frame

Instead of a running stitch, utilise a zigzag stitch as mesh has larger holes in its fabric.

Attach straps onto the frame to enable the device to be carried on the back.On the triangular sections, attach an eyelet onto the tip and onto the frame to enable a balloon stick to be attached and tension to be created in the ‘wings’

C O L L A R


FINAL DESIGN


F R O N T / B A C K F R O N T S I D E

F R O N T T O P B O T T O M


FINAL DESIGN


S I D E ( L E F T ) S I D E ( R I G H T )F R O N T B A C K


FINAL DESIGN


C O N F I G U R A T I O N S

module three

Documents

personal space sommers

intimate space

ones personal space

e c t u r e

i t ym o v e

n s f o r

helloa g e n d

brief design concept