M3 journal 2

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DIGITAL DESIGN + FABRICATION SM1, 2015 M3 JOURNAL - PLANT SUPPORT

Siyun Yang & Zihao Guo698893 & 683552

Tutor Name: Paul Loh

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Introduction

The failed M2 prototypes have alerted us that the personal space is essential

for designing the second skin project. Thus in M3 Journal, the refinement of

digital models and fabrication of prototypes are both based on the measure-

ment of personal space, which corresponds to the scenarios of library (for self-

study in silent) and when if walking in the street (to avoid people).

The personal space focus on the upper body of female, where is to protect the

body off the unnecessary physical contact. A series of continuous tube form

the structure of this second skin project, the more process of developments will

be explored by the following pages.

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Design development

Since the problems occurred in M2 Journal, the modification of digital models in accurate scale is the most essential portion

through the development from M2 to M3. The personal space has measured in this stage, and three different volume of personal

space with individual group of people will have different privacy space.

These problems need to be solved in M3 Journal: the parallel continuous lines have to be developed by adding the crossing

lines to support the structure stand up; the materials such as the junction should be tested in several experiments; and, digital

models must be based on the accurate personal space.

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Design development + fabrication of Prototype V.2

At this stage, we refined the digital model by using sectioning and contouring tools to make the model more precise from the personal

space in a well-scale. And therefore, we can use the intersection that form by sectioning tool instead of drawing each individual line in

Rhino. This is also can be used for the later fabrication process, and because it is more accurate than draw by individual line, the structure

will be more stable.

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Design development + fabrication of Prototype V.2

PlanPerspective view on body

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

According to Kolarevic(2003), there are three fundamental techniques for fabrication

including two-dimensional fabrication, subtractive fabrication and additive fabrication.

In order to fabricate our design from digital model to physical model, we are using two-

dimensional fabrication to obtain components and assemble the components instead

of splitting solid or adding layers by the 3D system. For the two-dimensional fabrication,

there are also some production strategies including contouring, triangulation, using of

developable? Undevelopable surfaces, and unfolding. For our design, we are choosing

the contouring and sectioning which creates a series of planar sections which are able to

be used directly to articulate structural components. And those series of sections can be

manipulated to create geometry and a complete abstraction of the building’s structure.

With this approaches components can be connected from different pieces while temporary

might be needed.

Reading Response Wk 6

Describe one aspect of the recent shift in the use of digital technology from design to fabrication?

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Reading applied to design

Refer to Kolarevic’s reading, we decided to create a sturctue that is able to be

held by the planar section components themselves by crossing each other and

form ‘grids’ . In order to get the planar sections of the structure, we firstly built a

mesh or surface for our personal space area which we measured. After that, we

used the contouring tool and sectioning tool to get the planar section from the

personal space’s surface. Some of those sections might need to be intercepted

each other to create a structure that is able to hold itself with those structural

members.

How does the fabrication process and strategy effect your second skin project?

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The development of digital design is one giant leap for architects to design the

complex geometry components easier. It shortens the time between original de-

sign and final stage, and it is convenient for designers since it can make the model

more accurate.

One of the methods with the computer modelling is called ‘sectioning’. The tech-

nique of sectioning is to take numerous cross lines on the object, and it can imme-

diately form parallel lines on the surface.

‘Playa Urbana/Urban Beach’ by William Massie is one of the examples that used

sectioning in digital construction. The sectional ribbing, parallel stacking, and waf-

fle-grid are the techniques that constructed through sectioning.

Apart from it, the digital fabrication and the material techniques will calibrate the

process between the virtual model and the physical model. The physical model

can be assemble with the reference of the digital model for either dimension or the

design’s forms. And some feedback can be reflected to the digital model process-

ing when making the physical model in terms of material property, assembling is-

sues and some visual response. For the processes of design and making. The visual

model and the physicals model making might need to be interacted with each

other.

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

Describe one aspect of the recent shift in the use of digital technology from design to fabrication?

Reading Response Wk 7

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Reading applied to design

According to the Design and making techniques from the reading, we kept doing our pro-

totype by referring to the digital model from getting fixing points and dimension for the

tubes. At the same time, we got some feedback from the material property to the digital

model. We kept doing the processes in a loop to refine our design.

During the processes, we found our material itself (the tube) is not strong enough to hold a

structure especially with the longer components as they got their own weight and gravity.

As a result we decide to create more interceptions between the tubes and shorter the com-

ponents to provide more tension for the structure to make the structure more strong and

reinforced. In addition, we build a ‘hat’ structure on top of the human head with parallel tied

tubes to attach the design to the human body with a more continuous structure instead of

the separate inner support structure for the heavy outer structure.

Referencing from the lectures and readings, what is the implication of digital fabrication on your design ?

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Prototype development

The testing of the property of tube is show as above. A seg-

ment of the model is made by a few tubes and pins, and then

formed a shell shape and stood by the structure itself.

The tube of fish tank has chosen for the material as our en-

tire structure. The quality of tube is flexible and continuous,

and the color is semi-transparent with light purple-blue. When

tubes cross to each other – form as X-shape, they will support

their own to stand up.

Therefore, the decision for choosing tube as the entire structure is discussed and made since it achieved to our intended effects – the

stable structure can create the volume from the body.

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Some early prototypes have been made out throughout the idea of thinking

of design. The inner structures are developed to support the outer structure

since the outer cannot hold by itself. Figure 1 is the segment that adjoins the

neck to support the back; figure 2 is the shoulder part where adjoins on two

arms to support both sides; figure 3 is the front segment that connects the

front outer structure.

Figure 1

Figure 2

Figure 3

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Prototype optimisation

The effect we want to achieve is to create a privacy space to

protect the upper body. The focus is on the neck and head

which is the most sensitive part of the body. Therefore, based

on the measurement of personal space, a volume is created

to refuse other people get close to you.

Also, the supporting structure is created by optimizing the

view. It means the dislike people will be block from you sight

since you can only identify the shadows if look outward. Cer-

tainly, you can still look at the road from the gap in between.

The reason that did not use pins or tape is because cable tie

is a strong material that can tie two tubes tightly, and makes

tubes cannot tendency to either left or right direction.

And also, when we fabricated the structure, we found that the

remains part of cable tie can create a secondary personal

space that keep the distance with other and against to the

stranger.

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Prototype optimisation

We found that the longer tubes are useless for the entire struc-

ture since they cannot both in supporting the structure and

create much more self-weight. Therefore we removed those

tubes and adding up the short diagonal tubes for replacement.

Using parallel tied tubes which are extremely strong on the top

to create tensional for to hold the structure.

Previous digital design

Current digital design Prototype of current design

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In terms of continuous structure and fluid shape, the property of the material needs to

be continuous and also represents the idea of the section and contour. The material

also needs to be able to form the structure that can be support by itself.

Only two materials we used in our prototype: cable tie for all the junction, and fish tank

tube for the entire structure.

Cable tie is used to replace the pins for typing up two or three tubes at each intersec-

tion. It can not only avoid the damage from the sharp end, but also the aesthetics of

transparent cable tie.

Two different types of tube are used in the entire structure. One has the larger radius

and the other is smaller. The larger one has heavier weight which is one 20 meters con-

tinuous tube; the smaller one is split to four different portions of compounds: eight verti-

cal tubes as the connection between the supporting structure and the main structure;

six horizontal continuous curvilinear with different lengths; eight oblique tubes for both

sides where four tilt to the left and four to the right.

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2nd Skin final design

Perspective View

Front ElevationRight Elevation

Plan

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The inner structure is deleted since we found that is useless and the outer structure can actually support by the continuous structure on the head.

Hence, eight vertical tubes are then developed to connect the top and main structure.

Therefore, the entire structure provides a great personal space and will not be tied to the body.

Right Elevation Front Elevation Perspective View Plan

2nd Skin final design

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Fabrication Sequence

H3 H2 H1

T1

V1 V2 V3 V4 V5 V6 V7 V8 V9 V10

V11 V12 V13 V14 V15 V16 V17V21

V20V19

V18

The diagram shows all the elements we used in the final physical prototype.

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Front view of prototype Back view of prototype: when meet stranger middle step of adding up the protection structure

Final verse of prototype

From the development of prototype, we started to make the top portion first. Since

the tube is 20 meter long, it is simple to fabricate the shape, and then we started the

bottom curvilinear where the base of the protection portion is. The next step is to add

up the vertical short tube between the top and bottom. This is because the remained

curvilinear can be easier tie up to the constructed structure.

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Assembly Drawing

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2nd Skin

Prototype by itself

Front view: prototype on the body in normal time Back view: prototype on the body in normal time

Right view: prototype on the body in normal time

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Front view: prototype on the body in self-immerse time (meet dislike people) Right view: prototype on the body in self-immerse time Back view: prototype on the body in self-immerse time

The effect we achieve is split into two themes: one is in the normal time, such as walking on the street or talk to someone else; the other

is when you do not want to look towards, such as a dislike people just in front of you, or some views that you do not want to look at. The

entire structure can be turned under these two themes.

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AppendixPersonal Space

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Bibliography:

Kolarevic.B., Architecture in the Digital Age - Design and Manufacturing , Spon Press, London, c2003

Iwamoto, L. Digital fabrications: architectural and material techniques, New York : Princeton Architectural Press, c2009.

Appendix