Module 4 By Stephen Yoannidis (696348)

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DIGITAL DESIGN + FABRICATION SM1, 2015 DIMORPHOUS DISTORTION

STEPHEN YOANNIDIS 696348 Tutor: Rosie Gunzburg

Tutorial: Thursday 1:00pm - 3:00pm

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CONTENTS

INTRODUCTION....................................................................................................................................................................7

IDEATION............................................................................................................................................................................ .8

DESIGN.................................................................................................................................................................................18

FABRICATION.......................................................................................................................................................................44

REFLECTION..........................................................................................................................................................................74

APPENDIX.............................................................................................................................................................................76

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PANEL AND FOLD: THE PAPER LANTERNThe material system we chose to explore was Panel and Fold, studied through a simple Paper Lantern. Through exercises of deconstruction, measurement and reconfiguration we abstracted the rules and material logics behind the diamond shaped cellular lattice structure of the lantern and applied this throughout our project as inspiration towards our second skin designs and construction processes.

INTR

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ABSTRACTEarly design ideas were formulated through a series of empirical research that explored our panel and fold material system through careful observation and measurement of a paper lantern. The research focussed specifically on the logic of organisation and arrangement of material as a system. We drew, sketched and digitally modelled the system to explore and understand its inherent rules and logic as well as its potential for design. We used this work to sketch out the first ideas of a second skin using panel and fold.

Delicate and transformable; reconfiguring the material system of the paper lantern to explore volume and space.

IDEA

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MEASUREMENT AND DRAWINGSPhysically measuring the paper lantern and translating it into a series of measured drawings proved to be more challenging then I had first anticipated. It’s fundamental geometry was rather simple; being composed of diamond shaped cells projected onto the surface of a sphere. The physical model was imperfect however (given its delicate and manipulable form) adding further information to its geometry to make it irregular and very complex. To try and capture this true form of the lantern my techniques in measuring it involved both a fundamental understanding of the underlying geometry of the structure as well as empirically measuring its natural distortions and deviations from this form.

Photographing both plan and elevation views of the lantern gave me a helpful starting point. I scaled and transformed these images to keep them consistent with the proportions of a perfect sphere, negating any perspective issues with the photographs. I used a second (sacrificial) lantern to learn the internal forms of the structure, cutting it cleanly in half to measure and study the joins between the folded paper. Making note of important spacing and dimensions I used Adobe Illustrator to draw up a simplified bare bones structure of the lanterns form and then, using tracing paper, marked in these details on my drawings. Placing the scaled photographs of the object now behind the tracing paper I could copy the more complicated geometry and distortions of the lantern while still maintaining its correct spacings and proportions. I drew only half of the object, scanning and then later digitally mirroring it. Using more tracing paper I drew the outlines of the finished drawings, transferred them onto drawing paper (110 gsm) and used pencil shading to really give the drawings some depth and bring out their 3d form. I scanned the drawings and used the curves tool in Photoshop to really bring out their tones and contrasts.

Cutting the lantern in half to study its internal structure

Pencil shading gave the measured drawings a good representation of the three dimensional form of the

lantern

Reconstructing the lanterns geometry from photographs and measurements

Completed bare bones drawing, ready to be mirrored, traced and

shaded

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SCALE: 1:3

290m

m

290mm

Plan Elevation

MEASURED DRAWINGSA set of Plan, Elevation and Section scaled drawings that

precisely capture the physical structure, form and proportions of the paper lantern.

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40m

m

SCALE: 1:2

Section

35m

m20

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DIGITAL MODELA digital reconstruction of the lantern to consolidate

understanding of its geometry and structure.

Plan Elevation Isometric

Digital model of the paper lantern constructed using Rhinoceros 5. Key tools used: Project, Loft, Mirror and Array (Polar).

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SYSTEM ANALYSISAbstracting the rule and material logic behind the paper

lantern.

The entire physical structure can be simplified down into separate, adjacent paper pieces with mountain and valley folds. The peak of one fold is adhered to the trough of another, which produces the characteristic diamond shaped cellular lattice.

The cellular, folded diamond lattice structure poses little resistance to horizontal compression and expansion. Lattice proportions can be changed and the entire structure can be transformed into a flat sheet.

The paper lantern is constructed from separate semicircular pieces with mountain and valley folds. The folds are most pronounced at the outmost edges, at the core of the assembly these folds appear relatively flat. 52 of these sections arrayed in a polar fashion produces the final structure.

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Materials Used: A4 paper, tooth picks (ends), sticky tape, A3 drawing book as base

VOLUME: SKETCH MODELIn making this reconfigured object I attempted to explore how

volume and space could be created with a material system similar to that of the paper lantern. By mimicking the same mountain

and valley folds (which vary in their pronouncement from subtle to extreme and sharp) while also exploring twisting and curvature

(inspired by the spherical nature of the lantern) I was able to produce a very interesting structure that occupied a rather large

and complex volume from essentially only flat materials.

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A jacket with a paper cellular lattice front that can be contracted to wrap close to the skin or expanded to create an artificial space in the frontal region of the wearer. It explores the sensitivity of personal space associated with the front of the body and the need for breathing space. The jacket can be adjusted to mimic the preferences of the wearer.

How does this respond to your personal space?

DISTANCE / SPACE / FRONT / BREATHING ROOM

Front Side: Retracted Side: Expanded

Separate sheets of paper with mountain/ valley folds

When the peaks of one sheet are adhered to the troughs of an adjacent sheet an expandable/ contractible cellular lattice is formed. An array of this logic forms the frontal structure of the jacket.

SKETCH DESIGN #1

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A continuous length of semi-rigid material that wraps around the arms and upper chest of the body. While the lengths facing inwards to the body are skin tight the rest form aggressive curves away from the body, producing an impenetrable immediate surrounding space. It explores the prevention of contact and an essence of obstructive physical separa-tion that is widely practiced by people with personal belongings and material possessions in the aim of maintaining a boundary of personal space about them.


BARRIER / DEFENCE / ARMOUR / OBSTRUCTIVE

Armour like structure creates an obstruction surrounding the sides of the body, forming an impenetrable

immediate personal space

Front

Folds in the semi rigid flat material create the aggressive curvatures and volumes. ‘Wrap’ idea and jagged/ aggressive folds adapted from my reconfigured object.

SKETCH DESIGN #2

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A cloaking type helmet structure formed from a cellular paper lattice. The structure can expand and contract in the vertical axis, when pushed all the way up it covers the entire face, but still allows the wearer to maintain some vision through the diamond shaped paper lattice. The helmet offers an obstruction to eye contact (which can only be achieved while looking through the narrows slits at the correct angle). It explores the concept of personal space through visual connection, allowing the user control over eye contact and therefore privacy.


HIDDEN / SHY / COVERED / UNSEEN

Separate sheets of paper with mountain/ valley folds

When the peaks of one sheet are adhered to the troughs of an adjacent sheet an expandable/ contractible cellular lattice is formed. An array of this logic forms the entire helmet structure.

Front: Pushed up Front: Pulled down

SKETCH DESIGN #3

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ABSTRACTIn this module I worked with Matthew Tibballs and Brydie Singleton to design and develop the idea of a second skin. Building upon what we learnt from and explored in our respective Ideation stages we began to focus on what effects the second skin will produce, explored ideas of personal space and manufactured prototypes to test out these effects.

Module by Matthew Tibballs (638803), Brydie Singleton (699115) & Stephen Yoannidis (696348).

DES

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SECOND SKIN, THIRD GENDERMatt’s sketch design #1 presented the notions that formed the basis of our conceptual direction; the third gender. This encapsulated blurring the boundaries and redefining the silhouette so that it presents a form not distinguishable to the male or female sex. The aim is to convey the metaphysical distortion of genders through patterning and physical enclosure to hide the corporeal vulnerabilities of the human body.

Brydie’s notions of fragmentation to create a holistic form as per her sketch design #2, and the notions of bursting out or crumbling away as one navigates through personal challenges, was linked to the self identification of gender and struggles through social acceptance. This idea can be seen in the final design development where the design finishes at the bottom, becoming sharper and less fluid as it ‘breaks away’.

Aspects from Stephen’s sketch design #3 informed an important aspect of our design. His theme of hiding was realised through covering the face, however due to a diamond shaped cellular lattice structure, inspired by the paper lantern, the wearer was still able to maintain some vision. Likewise for the viewer, depending on the angle they were looking at the structure, only through narrow slits on a particular angle were they allowed vision into the wearer. Distortion of vision has been an integral aspect carried consistently throughout our design development.

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MEASURING PERSONAL SPACEWe proceeded to use watercolour mediums to explore the haptic and sensual nature of a person’s personal space to see what areas of the zones tended to extend further away from the body. Upon reading Sommer’s Personal Space (1969), we felt it necessary to measure personal space through different mediums, including the physical and emotional responses to an individual when their personal space is breached. This reaffirmed the notion that personal space is not spherical, but rather proportional to the mind and its relation to the body. This enabled us to see that personal space was more directly related to the upper body, particularly around the face, the neck, the chest and the arms.

The Second Skin will respond to the notion of personal space by distorting the androgynous zones (both male and female) to re-shape the human silhouette into a new form that conceals the corporeal vulnerabilities of the human body. The main focus for the digital fabrication will be on distortion and pattern, and how this can create a repression of visibility and a focus on tactility.

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MALE AND FEMALE PERSONAL SPACE

We analysed how males and females reacted to personal space individually. They tended

to share characteristics of covering the face, covering of the arms and covering of the chest.

In terms of projecting space through confidence and extroverted tendencies, men tended to be

more likely to expose muscle and skin due to testosterone driven reasons while females felt more inclined to expose curves and forms of the body in

general. As a team we outlined these tendencies to merge and blur the male and female

characteristics into one, which was to inform the design of the second skin as a surface.

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REFINED SKETCH MODELUpon extensive analysis of the material system of the paper lantern, the exploration of a single pattern across a surface as a projection was an aesthetic of particular interest. The idea that a pattern across a surface with openings could create a wearable piece that is both open and liberating for the user, but visually solid and protective proved to be a resourceful grounding for our design exploration.

We documented how this projection upon a surface could be applied to the second skin effectively. This was our first iteration, which essentially enables the user to have complete transparency when front on to another person, while the parallel extrusions hinder views from onlookers. Paneling Tools was an important tool in this design process, except while it was possible to create a pattern as a surface domai number along a surface, we wanted to explore the difference when the grid is created along a one dimensional plane, and then projected onto the same surface.

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LOST IN PARAMETER SPACEThe development of digital design has created architectural interventions that are dramatically changing aesthetics of beauty. Now complexity through patterning has become a reality for fabrication that can now be rapidly completed through algorithms and parametrics in programs such as grasshopper and paneling tools in Rhino. When exploring the possibilities of Paneling Tools in Rhino, we found many possibilities. The development from drawing in 2-d, as we would have done if drawing by hand, to being able to design all aspects 3-dimensionally in a virtual environment has been incontrovertibly beneficial, and enables a very holistic and specific design process concomitantly.We applied many of the theories defined in the reading ‘Lost in Parameter Space’ to ensure the success of our digital models, this included abstraction of information and data using NURBS for creating a surface. Secondly, Reduction was important for ensuring the elimination of redundancies and maximum efficiency of output. There is an interesting parallel between digital definitions of the design process and the artistic expressionist manner in which many Art Schools educate. For us, this means that while we may be fabricating digitally, it does not signify a reduction in artistic quality or meaning. We as designers need to think about the making aspect of design, and digital processes of parametrics have enabled the complexities within our imagination to better translated into the real world. We hope to achieve this by applying these principles. FRONT ELEVATION

PLAN

RIGHT HAND SIDE

ISOMETRIC

From this there is clear articulation of pattern and its distortion. In order to meet the requirements of a personal space however, the design needed to incorporate the entire body, rather than just the front. The Second Skin can respond to the notion of personal space by distorting the androgynous zones (both male and female) to re-shape the human silhouette into a new form that conceals the corporeal vulnerabilities of the human body.

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SITE ANALYSIS OF THE BODYA site analysis of the body showed how the second skin could respond specifically to certain parts. We found it interesting how our perception of the body was directly influenced by social constructs, inspiring us to question how we could change these perceptions and rupture pre-conceived notion of the body by hiding and concealing, but also revealing. We asked questions such as how the exemplification and exaggeration of non-gender parts, through distortion but also exposure of skin could retract from the gender specific body parts in a surreptitious manner. As such, allowing us to portray a personal space that could not be identified as either male nor female.

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PLAN

ELEVATION

SIDE

SECOND SKIN DESIGN PROPOSAL 2This proposal takes the similar abstract distorting of the body with the

diamond pattern but now wraps around the body in a cocoon like manner. The diamond pattern is divided along the surface with distortion occurring based on the tangents of the surface. The diamond pattern abruptly ends in sharp fragments at the top and bottom, which can be seen as a type of barrier to external interaction. From these initial forms we can see how we

are experimenting in form deformation of the body.

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Our design can be said to be a composition of planar quadrilateral faces pieced together to form strips of planar quadrilaterals. It has been broken down into a family of lines, creating rhombus shapes through their intersections. The varying sharpness of the turning points where one rhombus meets the next, allows them to follow along the curved form. In this sense, they are the tangent surfaces of a space curve. The Gaussian curvature of the tangent surface of a space curve is zero, and thus can be classified as a developable surface. That is, the surface can be flattened onto a plane without distortion. And this is precisely what we are executing when we flatten and print the design. Due to the nature of a closed curving space, and given that there is no consistent curvature in our design, the planar quadrilaterals can be stretched and distorted as they follow the various concave and convex journeys around the space curve.

Planar Quadrilateral Strip Tangent Surface of a Space Curve

Strip Model of a Curved Surface

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Rei Kawakubo recreated the human silhouette by distorting the female figure in ‘Lumps and Bumps’. The role of the clothing was to challenge conventional notions of beauty as well as the overtly sexualised objectification of women. Through deformity and distortion in body parts, she proved how sensuous, organic curvilinear shapes at the scale of the human body could redefine a female’s relationship with society and space. This provides opportunities for digital fabrication also, as paneling tools enables the application of flat panels in segments, which if done so in large amounts could create a curved effect. These asymmetrical silhouettes are complex architectural forms, and really accentuate the idea that there is inspiration to be found in fashion, and fashion’s interpretation of personal space. Interestingly, while fashion is frequently considered ephemeral with soft, fragile materials, which contrast with the permanence and monumentality of architecture, It seems that personal space requires a combining of fashion’s understanding of the body, and architecture’s control over space. Structural components of the second skin that extend away from the body will create physical enclosure that can serve as a barrier from physical invasion, as well as a visual barrier through concealment of the user’s own corporeal vulnerabilities. By applying this idea to our design, we could create a cocoon of personal space.

PRECEDENT RESEARCHLUMPS AND BUMPS - REI KAWAKUBO, 1996Concept - Empowerment, Female body deformity

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CLOUD CANOPYConcept: Weather protection/ sunlight, visual transparency

The Cloud Canopy by Maddison Architects has been of interest to the second skin project. The Hexagonal paneling has angled parallel extrusions in a northerly direction so as to respond to the sun’s lower angle in winter. This is a functional response to context, which is reminiscent of the honeycomb lantern and the manner in which one could see only the very middle due to the extrusions but not the peripherals, as these were blocked. Similarly, this is an example of paneling with openings which when contrasted with the Puppet Theatre, could be used to accentuate movement and patterning further if these were to have alternations in their openings rather than a standard size and shape as seen here. Nevertheless, the soft edges, irregular and fluid form and partial transparency are factors that would work very well with the second skin concept.

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LE CORBUSIER PUPPET THEATREConcept: Pattern/ Movement/ Fluidity

Located in Le Corbusier’s Carpenter Center in the United States, this puppet theatre is the product of intricately tessellated triangles, joining into diamonds. A configuration of triangle

shaped interlocking polycarbonate panels cover all sides of the theatre. These sharp geo-metric shapes, are integrated in such a way that they produce an overall organic and some-one fluid form. This building is a fascinating source of inspiration of distortion patterning. Each

modification engenders a sense of movement, almost as though the rigid patterned structure is graduating towards the entrance. This is achieved through the transforming shape and size of the panels, as they transition along the curves of the walls and sloping concave roof. It is in this way, that Le Corbusier’s Puppet Theatre could inform our second skin. We could replicate

this panelling, interlocking grid system, so that as our cellular structured design curves over our distorted third gender silhouette, different levels of information is given to the viewer. This means that as the viewer circumnavigates the model or simply changes/tilts their viewpoint,

what they are being exposed to changes, and a sense of motion is conveyed.

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APPLICATION OF PRECEDENCE TO DESIGNWe began to apply the precedence theories to our design models. We

combined the idea of patterning and distortion seen in Le Corbusier’s Puppet Theatre and Rei Kawakubo’s work as a technique for emphasizing the

distortion of the body silhouette taking place. In Rhino, the first step was to set up a planar paneling grid, and using attractor curves to create distortion

in its own manner. This way when the same grid is applied to the surface as a domain number, the distortion pattern would be further accentuated than

when it is simply placed as an calculation of the U and V curves. Secondly, looking at how interference patterns could be created through openings in the panels, and how the front part of the skin and the back part could

interact with one another visually through its transparency was an integral part.

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APPLICATION OF PRECEDENCE TO DESIGNThe design process involved many different iterations, both through hand sketches and in Rhino. The abstract form of the second skin took on many forms which created different alterations for the patterning design. The second skin worked well when combined with visual effects through gradations in shape which would have the effect of creating rhythm and movement. Furthermore, the transparency created via the openings proved able to interact with the other side of the skin, from one end to the other, which can create an interference pattern. Continuing factors included: asymmetry and smoothness in form that covered part of the face. This was important because it permitted the user to turn away from unwanted attention, but also be able to convey inviting body language through exposure of skin. The tactile transitions between the two extremes of visibility and invisibility were vital in the process.

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DESIGN DEVELOPMENT - Version 1We developed the design in Rhino to wrap around, in what seems to be spherical from plan view, but perceptively changes this in elevation. The idea behind concealing and revealing is continued on. We began to consider how panel and fold material techniques could be used to support the structural elements of the form, which does extend away from the body. Critical reflection revealed this iteration as unsatisfactory because we felt it failed to capture the proportions of the human body, which ironically would emphasise further its distortion. By having hidden completely most of the body, we were simply hiding and ‘blobbing’ if you will. The human body is curved and slender, and it was agreed that the second skin needed to consider these characteristics, reflect it in its form, then distort from it. This led us to consider how the form could have more curves and slenderness to it.

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Here we can see the final form developing from the human body’s own form. Interestingly, upon re-application of paneling grids along the surface, the creation of more slender aspects made the appearance of the patterns more stretched along its surfaces. We wanted to emphasise this even more, so attractor curves were used to distort the grid dramatically, After this condition was understood, we looked into how the panels could be made more complicated through a series of openings which can be seen in the sketches below.

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DESIGN DEVELOPMENT - Version 2 (FINAL)ANDROGYNOUS ABSTRACTIONThe final form of the skin is an exploration of the panel and fold system through curvilinear forms and distorted paneling patterns in a lattice like form that will create a rhythmic and dynamic effect. This choice of visibility and concealment that is afforded to the user, will hide the insecurities one may possess with their own body, and create spatial proximity that heightens the understanding of occupation and enclosure to outsiders. Similarly, distortion will counteract the ordering and proportions of the body, and essentially deconstruct pre-conceived

FRONTSCALE 1:20 LEFT SIDE BACK RIGHT SIDE

ideas of gender, body, and space. Furthermore, there is a transition from smooth fluid form to the sharp and geometric base, giving the design a fragmented, ‘break away’ design, so as to enhance the notion that there is an abstracted form breaking free from the constraints of the physical body. Similarly movement generates a non-determined concept of space where spatial and bodily boundaries are constantly blurring.

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DETAIL DRAWINGS

RIGHT HAND SIDELEFT HAND SIDEFRONT ELEVATION

PLAN

ISOMETRIC

SCALE 1:20

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DIGITAL PROCESSDigital modeling process involved:1. Surface Creation through lines that created a network of surfaces, an abstraction of form was created based on our sketches and ideas2. Reduction of Form, surface was rebuilt to simplest form of itself. This was done so as to ensure maximum efficiency during the digital modelling process, but also to ensure smoothness when applying a paneling grid.3. Surface Domain Grid Variable Application - using attractor curves projected onto the sur-face to create enhanced distortion, with a diamond pattern applied.4. Surface is paneled with offset face borders to create openings of different sizes in relation to the attractor curves.

Surface Creation from Network Srf

Reduction ‘Rebuild’ Paneling Grid, Surface Domain Variable

Attractor Curves create distortion

Offsetting of Face Borders in relation to attractor curves

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CRAFT PROTOTYPESInspired by the striking effects produced by the folded, geometric structure of the paper lantern we attempted to replicate many of the effects its cellular form produced using only flat sheets of paper and folding/ cutting processes. Volume and space had already been explored in the sketch model from the ideation stage of the project, where simple mountain and valley folds were able to produce many beautiful complex and interesting three dimensional forms. Following from this idea we shaped a single piece of paper into a concave form using similar folding techniques (though unlike Mountain and valley folds these were folded only one way). The folds were arranged in a diamond shaped lattice as to mimic the curved cellular lattice of the paper lantern. Taking this basic structure, we removed the material within the flat diamond faces of the structure (in varying amounts) and were able to produce similar diminishing and distorting qualities the paper lantern had produced with its lattice of different sized and tapered cells. Our final craft prototype recreated these effects in a more structural form, being composed of individual cells with tabs that were adhered together to produce a stronger and more rigid three dimensional form.

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DIGITAL PROTOTYPEWe encountered problems in the process from digital creation to physical fabrication. The making process really opened our eyes to the fact that while the design may be complete in the virtual world, there is much more to be done in relation to building it. In bringing the design to fabrication, a section off the shoulder part was cut off, and unfolded into individual panels. Tabs were added onto the panel of each one, which was then laser cut onto whiteboard. The structure of the prototype was very similar to that of the final craft prototype. An unintended effect of this material was the interior colour coming through when folded. This actually accentuated the outline of each panel which further enhanced the textural quality of the skin. Upon reflection, it would seem more beneficial to unroll the panels in strips rather than individual pieces as was done for the prototype.

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TESTING EFFECTSWe tested the effects of the

second skin through prototyping, as well as diagramming.

We found that the series of transforming panels worked well for controlling visual penetration

from the outside, as well as accentuating distortion. It

creates a distinct deformation of the body image, contributing to the idea of a hidden body. The prototyping of individual panels

with tabs on white board via laser cutter also performed efficiently in creating structural form as the

panels supported each other.

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ABSTRACTWe continued to develop our design in this module with the aim to refine it through further iterations of prototypes. The final model of our second skin was then digitally unrolled into a cutting template for laser cutting and later fabricated by hand.


FABR

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TION

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SECOND SKIN, THIRD GENDEROur proposal for the Second Skin is a body piece that creates personal space through the blurring of boundaries that encapsulate the human body silhouette. Through this, we create a metaphysical distortion of the genders of male and female through patterning, physical enclosure, as well as graduations of open and close panels to hide the corporeal vulnerabilities of the human body.

In essence, this is a concept of the Third Gender, the in-between that is no longer a polar opposite of social constructs of male and female. Through repression of the visible parts of the body that define our gender, and distortion of the androgynous zones, the Skin provides a more tactile and sensual experience for the user.

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FIGURE A

FIGURE B

MATERIAL SYSTEMThis theme of hiding and patterning was inspired by the diamond shaped cellular lattice structure, inspired by the paper lantern, the wearer was still able to maintain some vision, while outsiders have their vision restricted. Distortion of vision has been an integral aspect carried consistently throughout our design development. The similarities between the original paper lantern and its distortion towards a point is equally apparent in our digital design.

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FIGURE E

FIGURE D

FIGURE C

DESIGN DEVELOPMENTThe development of our design concept for personal space proved successful in our initial prototype using mountboard. It captured the structural quality that we aimed to achieve with the skin, proving that through individual tabs on each individual panel, it lends a certain rigidity to its form. Similarly, the gradations and distortions in patterns create a very interesting effect that is vital for the final effect. This is clear in Figure C and the diagrams (D, E).

However, as we come to the fabrication process we needed to consider how the Skin will firstly be fabricated as panels, and secondly how we can put these panels together. The final step was to figure out techniques for ensuring that this form would maintain its shape for a prolonged period of time and not be susceptible to drooping or tearing (Figure F, G).

As a result we decided to shorten the skin slightly, removing the bottom parts characterised by sharp geometric parts to decrease the weight. We also felt that this would create a more unified skin that would be more easily wearable also.

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FIGURE G

FIGURE F

RHINO MODIFICATION

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READING RESPONSE WEEK 6 Architecture in the Digital Age - Design + Manufacturing/ Branko Kolarevic, Spon Press, London c2003

Throughout Module 1 and 2 we explored the theories and practices behind creativity and imagination, beginning the process of prototyping by the end of Module 2. The use of digital applications allowed us to prototype and understand the effects and visual envelope our design, and how it could translate as a second skin. The theme explained throughout Module 3, particularly during week seven’s lectures and in Branko Kolarevic’s reading ‘Digital Production’, outlining the revolutionary shift in computer software development and virtual analysis, is a strong theme we encountered.

The bridge that has been built in the past years between the virtual / technological world and real life production, meant that this process of prototyping and fabrication was a relatively seamless step. This direct design to production allowed us to employ computer aided manufacturing, specifically using a subtractive technique of a laser cutter.

The rise of digital technology has revolutionised the relationship between conception, design and production. The link between digitally designed and digitally fabricated has become one that is connected in nature. As fabrication technologies develop, these process are becoming intrinsically intertwined. The curvilinear surfaces featured in contemporary architecture have brought to the forefront, the issue of recreating the complexity of these spatial and tectonic forms.

It should be noted that digital applications allows for a high degree of precision in fabrication, replication and assembly which is fundamental to the successful transition of our design from the virtual reality of Rhino to the real world. Precision is necessary given the techniques of Panel and Fold that we have applied, as every single panel is different and constitutes their own individual part in this 3-dimensional puzzle. If one panel were to be out of place then the whole structure would not work, similarly if they were not exactly the same size as is in Rhino. Digital Fabrication allows this accuracy through the ability to unroll surfaces that are not necessarily planar into a flat plane that can then be prepared for laser cutting.

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The dichotomy between the digital and the physical has become intertwined. This has been a very enlightening lesson for us as we applied digital technologies not only as a medium of translation, but as a medium of conception. The inher-ent capabilities of plug-ins such as Paneling Tools within Rhino enabled experi-mentation on a 3-dimensional level that would not have been possible in the real world. Indeed, the complexity of the project would have greatly restricted design outcomes had they been done on paper 2-dimensionally.

As Branko Kolarevic elaborated, it is now about input and output. For us, the input was the geometry of the physical model created in Rhino and the output was a digitally encoded set of information that is then translated to the laser cutter. This is a technique referred to as “reverse engineering”. Reverse engineer-ing involves the scanning of a pattern of points called a “point cloud” which is adapted nd converted to produce a close approximation of the model’s geom-etry. This is commonly a NURBS (Non-Uniform Rational B-Splines) profile.

Our production process involved cutting which is a two dimensional fabrication. It can include, plasma arc, laser beam and water jet. These may be carried out through a moving cutting head, or a moving bed, or a combination of the two. This means that there is a two-axis (x and y) motion of cutting. Other techniques of digital fabrication include Subtractive, Additive and Formative. Subtractive involves the removal of a specified volume of material from solids while additive involves the incremental forming by adding materials layer by layer. Additive relates to 3-d printing.

For the Assembly Process, digital technology is still involved for locating each component and fixing them into place. This has replaced traditional drafting techniques such as tape measures and coordinates with electronic surveillance and laser position. Geometric data can also be used to control construction robots. It is possible to imagine that in the future, architects will directly transmit the design information to a construction machine will automatically assemble a complete building. This is the inevitable digital evolution in the building industry. While we did not apply such advanced robotic technologies in our fabrication, we can be seen as the metaphorical robots using the output data given to us via the laser cutter into their correct place based on the position and labeling of each panel and tab.

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READING APPLIED TO DESIGNFrom our 1:1 scaled prototype we were able to establish the characteristics that needed to be addressed to ensure the optimisation and successful realisation of our design. Incorporating feedback from the M2 design review, and using parametric modelling in Panelling Tools, we were able to create and continue to refine our design into a complex form. Specifically focusing on increasing the thickness of the tabs, further triangulating the lower area of the form so that it was more visually cohesive with the rest of the design, and looking into ways to incorporate supporting structures through the use of cross wires as reinforcement.

Digital technologies and fabrication processes have also unified the potential for skin and structure unity. This has led to the rethinking of surface tectonics by redefining skin as a possible self-supporting form in itself. The idea of a structural skin, based on its geoemtries is integral to the concept of our Second Skin. The Enveloped forms are made of panels that provide the enclosure and structural support, while simultaneously creating an aesthetic effect through patterning and “stressed” skins. It is a grid cross section produced by contouring and manipulated to create complex abstractions. Similarly, the isoparms in virtual design programs create subdivisions on an undevelopable surface, which when unrolling into a developpable surface translate into triangulated/planar tesselated surfaces. This generation by linear interpolation between two curves has been very important in enabling the successful construction of our second skin as this interpolation applies directly to the unrolling of our Second Skin in Rhinoceros.

The Fabrication Process involved certain changes to our design, as factors of reality took place. Investigation of materiality in relation to strength and weight of the model, was a discussion that took place first of all. We created two more prototypes using boxboard as a material to see how the form held in a different medium. From these investigations, we decided to stay with whiteboard for the predominant portion of the design. However, we did find that the length of the tabs attached to each panel determined the rigidity and strength of the structure also, which greatly influenced how we would unroll the panels and the size of tabs that would add in Rhino. This meant that many panels that needed to be light-weight were either converted into strips to reduce the number of panels, while key structural points were made into square like shapes with large panels to maintain structure. There was a certain degree of assumption and educated guessing that took place, as the digital technologies did not provide us with the means to test the Skin in a virtual gravity simulation, but we could see how the skin would sit on the body, and where areas might become vulnerable to tearing due to stress. This affected the choice of paneling in certain areas, and involved some areas being shorted and some panels being filled in. It was in these ways materiality and digital design / fabrication enabled us to inform, and further evolve our design concept.

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The Lowey Book Shops, Paris, 2001 by Jakob + MacFarlane

READING RESPONSE WEEK 7 Digital Fabrications: architectural + material techniques/Lisa Iwamoto. New York: Princeton Architectural Press c2009

The revolution of digital fabrication and material techniques have allowed for extensive architectural invention and innovation. Allowing the process between the digital representation of a design and it’s construction, to be increasingly seamless. There are however and inevitably, faults and fractures where the process and possibilities aren’t always so easily realised. It is integral to remember that it is during these times, and in reacting and responding to these inevitable gaps, that amazing design and innovation can be born. The fabricating process as a method of promoting, sparking and challenging the imagination of designers. During which the method of making ultimately forms the design aesthetic. Manipulating the tectonic method for design.CAD replaced hand rules drawings, but buildings looked pretty much the same. This was one form of two dimensions representation replacing another. It was only when three dimensional computer modelling and digital fabrication came into play, the design thinking expanded the boundaries for architectural form and construction. The work of Frank Gehry (Gehry Partners) was crucial to this development, particularly that of the Disney Concert Hall. During the design of this building, the practice adapted software from the aerospace industry; CATIA (Computer Aided Three Dimensional Interactive Application) in order to model the curvilinear exterior. It was then from here that cut stone mock ups, using milling machines derived from digital surface models, were produced. I.e. computerised sculpting machines that cut away surface geometries it was instructed to. Gehry Technologies was founded, and a version of CATIA was adapted and specialised for the unique demands of complex architectural projects. This demanded that architects learn a new language, and understand the decisions behind which machine and method are appropriate in order to match and articulate the design intent. Digital production techniques and capitalising on material methods as a generator for design. The results are extraordinary - intricate patination, filtered light, evocative and abstract images

Sectioning:Orthographic projections are one of the most valuable representational tools architects have at their disposal. These are now processes of taking cuts through a formed three dimensional object. The Lowey Book Shops, Paris, 2001 by Jakob + MacFarlane is a waffle construction as the foundation of the design and construction. Parallel sectioning as a starting point, however capitalising on the pliability of wood and the natural tendency of long strips of material to deflect. Towards the bottom of the installation, the vertical rib members are pinched together to create an informal array of elongated eye-shaped openings. This is an example where the material system is used to ultimately determine the form of the structure.

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Digital Weave, University of California, Berkeley / Liza Iwamoto, 2004

The interesting component to this project is that it’s temporality was of extreme constraint; it had to be installed and de-installed on site in a matter of hours. A design conceived as a collection of segments, such that the detail becomes a whole when engaged into it’s installation / construction.All the pieces were fabricated digitally which a computer-controlled water-jet cutter. Comprising of a series of women ribs, the translucent corrugated plastic material connected to one another, sandwiched through aluminium plates at regular intervals.

1. Rhinoceros model of overall surface enclosure2. Sections cut shown in plan3. Ribs extracted, translated and laid out into autoCAD4. Rib profiles rolled out into the template for water-jet cutting5. Full scale mock-up [Above images taken from page 8.]

This process is one that very much reflects the method utilised in our Second Skin project. The model of our three dimensional surface form was generated in Rhinoceros, in order to visualise the desired contoured structure. Sections cut through specific areas to prototype were extracted in plan, and rolled out into their profiles formats in order to digitally printed and fabricated (laser cutter). Tabs added in our case to allow for the assembly of our specific design. These individual segments then joined and connected to produce a full scale model. This streamline step by step evolution through digital sectioning into the fabrication, is precisely the technique system explained in this book, and employed by us.

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READING APPLIED TO DESIGNThe implication of these evolutions in design technology, has allowed for a relatively smooth and straight forward approach to our design. As highlighted in Paul Loh’s lecture involving the case study of the Times Eureka Pavilion, explaining the concept of “from pattern to making”, our inaugurating hand sketch of the form in its simplicities and distortions, to its physical fabrication at a 1:1 scale, tailored to our bodies, has been possible within a relatively short period of time. The application of Rhinoceros has allowed us to export small portions of the form, with the intent of prototyping to test connections between tabs and how the individual frames hold. As seen in exploded images below, being able to quickly maneuver sections of the model gives us a more complex understanding of the system we are working with, of which depth may not have been so easily obtained from individually creating hand drawings. The implications of being able to send off lines in such compositions that they are readable and informative, to be cut, is invaluable.

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ASSEMBLY DRAWING

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PROTOTYPE DEVELOPMENTHandmaking prototypes was important to design brainstorming, however digital prototypes are key to exploring structural possibilities for a design concept. This is essential for resolution. As we were using numerous panels and folds we wanted to explore the possibilities of mountboard when folded in on itself and connected with tabs (inspired by our final craft prototype). This in itself creates volumetric forms, albeit on a very small scale. The more panels and tabs that are to be added would create more stress increase the possibility of structural failure.

We noted that the folds that were created through laser ‘etching’ actually contributed to the outer layer of the material ripping off if put under stress. This can be seen on one side of the digital prototype (Figure B) where one layer of the mountboard had actually been ripped off. This is a factor that could contribute to the panels ripping apart when more panels are added together. This has compelled us to consider other supporting mechanisms outside of the ‘structural skin’ to help overcome these weaknesses.

Figure B

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PROTOTYPE OPTIMISATIONA feedback of particular importance that was given to us during the M2 presentation, was to investigate the employment of perforations in the regions where the curves become more accentuated. A prototype to explore what the relationship of these added incisions created with the existing surfaces. Curvatures had already been taken into account when translating the model’s warping nature into a format that would be con-structed, through the employment of diamond triangulation geometry.

However creating further such folds through perforations, to our surprise, did not actually benefit the overall structural integrity of our model. We found that in conjunction with the score lines that were required to exist, the stiffness of the form was actually decreased. This was due to perfora-tion’s natural proneness to folding. This therefore limited not only the long lasting qualities of the model, but also increased the fragility of the curv-ing areas. The inclusions of perforations essentially made the structure weaker.

Additionally, the employment of wire or another technique with tensile properties to stabilise weak areas that may display weaknesses, was an area of development highlighted during the M2 critique. We looked at two different methods in the end. The first comprised of a bent wire to act the same way a bone does, following along in the inside of a line of tabs to increase the rigidity of that particular area. The second comprised of a transparent wishing wire, tying across structurally fragile region, beings, fastened through tension, as was necessary after the completion of the full assembly. In the end, it became apparent that fishing wire would best serve this purpose, while having minimal impact on the aesthetic of the model, due to its transparent characteristic.

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PROTOTYPE OPTIMISATIONAnother matter that was brought up during our feedback from M2, was the subject of tabs, specifically that of their thickness. Our first prototype displaying the front shoulder portion, was given tabs of 5 mm thickness. The structure held relatively well overall, however slight areas of sag could be identified, and we knew that as this effect would increase with it. Hence the resolution and need for longer tabs was decided upon. A recess of 4 was given to the tabs to allow for the curvatures of the form. In addition,

as described in Chris Bosse’s text on Digital Origami, each individual cell depends on and creates solidarity through its connection to neighboring cells structures. By this notion, and in conjunction with advice from the M2 panel, we decided that for the purpose of structural solidarity, individual units to then assemble, rather than strips, would be optimal. However where the units became incredibly small close to the top of the form, they were joined for the practicality of assembling diminutive folds and joins.

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Materiality was a further area we investigated.

It was important to systematically examine the qualities other materials would exert in conjunction with the geometry of our model, besides that of our original prototype (white mount board). A thinner more fibrous grey cardboard was trialled, as we thought the use of a lighter material would decrease the overall weight of the structure, and therefore slumping would be minimised. We were initially worried that as all the components came together, the dead load of the actual material itself may cause areas of the model to pull. However, we found that the thickness of the white mount board was crucial in order for our model to become adequately rigid to be able to hold its form. On the thinner grey cardboard, the score lines created by the laser cutter were much more difficult to fold, and did not result in a clean or strong edge. The decision was then made that the structural folding disadvantages outweighed the weight advantages, and hence we would proceed with white mount board.

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ELEVATION

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SECOND SKIN FINAL DIGITAL DESIGN

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The Fabrication Process involved taking every laser cut tab, folding its tabs and then attaching it via a mixture of adhesive and staplers. As the panels grew, it became apparent that the tabs were very rigid, and even caused the tabs to curve of their own accord as the shapes of the panels curved upwards as a result. This gave us confidence that the complex curves that we were trying to achieve would successfully occur on a larger scale.

FABRICATION PROCESS

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As we progressed, we managed to put the tabs into several separate complete parts, which was part of how we inputted the project to the laser cutter. These different ‘prototypes’ created their own volumes as the strength and rigidity of the panels and tabs stuck together. However, concerns began to arise as the panels became stressed through compression and tensile forces when each component was forced together and then glued/stapled. As can be see in the images below, the panels automatically curved in on themselves as a tendency of the material when combined with the tabs. This was not predicted in the digital process, and was one of the many hurdles we had to overcome. A combination of clamps and force-fitting was used until the adhesive had settled the components into shape.

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We began to appreciate the tactile quality of the material and agreed upon a design tweak, to reverse the panels on the back side of the second skin. This was not intended upon in the digital designing process, but was decided in the fabrication. We thus sent the back part to the fab lab as a mirror image which enabled us to have the tabs facing the outside. This creates a very interesting effect as the panels create a much sharper look which has an interesting consequence for our idea of personal space.

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SECOND SKIN - DIMORPHOUS DISTORTION

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SECOND SKIN - DIMORPHOUS DISTORTIONThe resolution of our model through a fragmented, yet fluid form, has allowed us to represent the complexity of social constructs related to gender identification, through the exploration of personal space. We have endeavoured through the means of a second skin, to convey one’s efforts in investigating such gender classification, or lack there of. Translating the overall form, through a three dimensional digital modelling application, Rhinoceros, ensured the complexity of our desired curvatures. Throughout the entire process from start to finish, we have pertained, learnt and encountered the differences between the digital design process and the manual fabrication process. Although technologies allowed us to accurately laser cut the components

of our design, an extensive process was undertaken to manually assemble these components. The means of folding and gluing, as well as optimisation the form’s structural integrity through fastening staples and bracing fishing wire, is what this manual process consisted off. A team effort to overcome the effects of gravity as each sections were attached and the form grew, was certainly required. This was an important distinction to experience, as such limitations are not encountered in the virtual modelling world. Through warping and distorting the human silhouette, we have attempted the dimorphic exploration of personal space, between that of males and females.

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ABSTRACTCritical reflection of the overall design process and experience; what I have learnt, what I liked, what I found challenging and what I would change.

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REFLECTIONI’ve always had a passion for design, and as a student of mechanical engineering I sometimes wish I did more subjects like this. To begin the whole design process by stepping back, taking a simple object like a paper lantern to then deconstruct and abstract the rules and material logic behind it was a truly wonderful and inspiring start for the rest of the project. Trying to measure and digitally recreate such a seemingly simple object was eye-opening, revealing the complex forms a simple geometric structure can transform into once in the physical realm and vulnerable to distortions, manipulation and imperfection. I really enjoyed the ideation stage of the project, it made me look at the world around me very differently, allowing me to deconstruct complicated forms and understand the logic behind them.

It was great working with Matt and Brydie for the design and fabrication processes of the second skin. I was overwhelmed by the wealth of knowledge they brought towards the project and I was fortunate to be able to learn from them and pick up some key skills and techniques that they had learned from their respective architecture degrees. I felt that inspirations behind the design of our second skin were well mixed between each of our individual ideation works, the concept of the third gender however was primarily the work of Brydie and Matt. My ideation work exploring the effects of distortion created from cellular lattices proved to have a large grounding in the project, as did my prototyping works exploring tabs and folded surfaces. Matts taking charge of the concept meant that a very fluid process of design work and ideation followed, stemming mostly from a clear vision he had. What was great during

this process was that while Matt fundamentally developed the concepts, he was eager to maintain open communications over the design and collaborate over its direction and styling. Original forms were rather ‘blobby’ and worked to completely hide and distort features of the human form. It was my input that aimed to instead focus on accentuation and sharpness that lead to prominent features like the slimmed waste line. In truthfulness I believe the final design could have taken these ideas further.

Fabrication proved to be more challenging than originally anticipated. Even though we had optimised our tabbing and structural systems through extensive prototyping, bringing the entire project to full scale created all new challenges. The laminated structure of the white mount board that we used meant that when we adhered tabs with superglue the bond between the surfaces of the two tabs was often stronger then the outer layer and the core of the material itself, causing extensive ripping and tearing. This only became worse as we moved through fabrication; the adding weight of increasing numbers of panels producing much more force on these joins then we had anticipated. Stapling pieces together moved most of the force from the contact of the surfaces to the staple itself, but this really wasn’t a complete fix and some tearing still occurred. The most fundamental change I would make to the final second skin would be to use an unlaminated material to prevent this from happening. Overall though I was very happy with the final product.

Using both digital design and digital

fabrication processes meant that our design and manufacturing steps were fundamentally related and connected. The ease of modelling an idea in Rhino, then using CAM processes to manufacture it meant that there was no disconnect between design and manufacturing, something discussed in the reading Imagining Risk. We were able to learn quickly from our successes or failures from physical prototypes and then adjust our digital models in iterations for optimisation. Working also with simple handmade Craft prototypes allowed us the freedom to explore materials, shapes and structures without any predetermined result, finding the innovation that comes with the concept of “workmanship of risk”. I found the lateral approach of design and manufacturing discussed in the reading The Third Industrial Revolution to be intriguing. Using CAD CAM processes we effectively managed to manufacture our entire project, the potentials of Individual manufacturing and then selling through distributive or collaborative businesses like Etsy are something I find very exciting.

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BIBLIOGRAPHY

Bernstein, P., Deamer, P. 2008, Building the Future: Recasting Labor in Architecture, Princeton Architectural Press, New York. p. 38-42

Charny, D., 2012, ‘Thinking through making’ in Design & Making, Danish Crafts

Ching, Francis D. K., 1990, ‘Basic Orthographic Methods’ In Drawing - A Creative Process, Van Nostrand Reinold, pp. 146-159

Giovannini, J., 2000 “Building a Better Blob” in Architecture, September, vol. 89, no. 9, pp. 126 - 128

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

Hodge, B, & Mark, L 2006, Skin And Bones : Parallel Practices In Fashion And Architecture, n.p.: London : Thames & Hudson

Iwamoto, L., 2009, Digital fabrications: architectural and material techniques, Princeton Architectural Press, New York

Kolarevic, B., 2003, Architecture in the digital age - design and manufacturing, Spon Press, London

Mitchell, W. J., 2001, “Roll over Euclid: How Frank

Gehry Designs and Builds” in J. Fiona Ragheb (ed.), Frank Gehry, Architect, New York: Guggenheim Museum Publications, 2001, pp. 352 - 363

Miralles, E., Pinos, C., 1988/1991, How to lay out a croissant, El Croquis En Construccion pp. 240-24

Pallasmaa, J., 2012, The Eyes of the Skin: Architecture and the Senses, Chichester, West Sussex : Wiley 2012

Pottermann, H., Asperl, A., Hofer, M., and Kilian, A. (eds): ‘Surfaces that can be built from paper’ In Architectural Geometry, p. 534 - 561, Bentley Institute Press, 2007

Rifken, J. 2011, The third Industrial Revolution, Palgrave Macmillan, p.107-126

Scheurer, F. and Stehling, H. 2011: ‘Lost in Parameter Space?’ in AD: Architectural Design, Wiley, 81, 4, July, p. 70-79

Sommer, R., 1969, Personal space : the behavioral basis of design, Englewood Cliffs, N.J. : Prentice-Hall

Yee, R.,1997, ‘Conventional Orthographic Terminology’ In Architectural Drawing- A Visual Compendium of Types and Methods, John Wiley & Sons, p. 41-63

Documents

Module 4 By Stephen Yoannidis (696348)