Virtual Environments Journal M1-M2 Submission Compressed

V I R T U A LE N V I R O N M E N T S

MITCHELL SU | STUDENT ID No. 660192 | SEMESTER 2/2013 | GROUP 11

M O D U L E O N EI D E A T I ONINDIVIDUAL COMPONENT | MITCHELL SU 660192

IDEATION : WEEK ONE 1.0

1.1 MEASURED SPACE

The object chosen for this module was a coffee filter which is based on the materials system of panel and fold. The panel and fold system has a very crisp and modular quality to it, much like origami. The simplicity offered by panel and fold makes it highly malleable and open in terms of create a volumed form.

Based on the readings from 300 Years of Industrial Design, the methodology used to measure the space involved tracing and estimation, along with observational photos of the object’s occupied space and form.

Initially, measurements were taken by tracing the coffee filter on each side then simplifying the geometry of the curves down with concentric circles and fixed angles. The simplification of the geometry made measuring angles and arcs much easier as it was noticed that the shape of the arc on one side of the coffee filter was not necessarily a consistent curve.

To measure the filled volume when the coffee filter is being utilized, estimates based on physical observations were made to assume the volume. It was too difficult to measure the coffee filter accurately when the filter was being utilized.

Fig. 1 - Observational Sketches

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Fig. 2 - Front View of Unused Coffee Filter

110M

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47MM

47MM

1.1 MEASURED SPACE : FRONT VIEW

Scale is 1:1

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Fig. 3 - Back View of Unused Coffee Filter

1.1 MEASURED SPACE : BACK VIEW

Scale is 1:1

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Fig. 4 - Side and Top View of Used Filter

1.1 MEASURED SPACE : SIDE AND TOP VIEW OF USED FILTER

Scale is 1:1

165MM

90MM 128MM

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Fig. 5 - Observational Photos of Filter in Varying States.

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1.2 HOW TO LAY OUT A CROISSANT

Miralles’ How to Layout a Croissant describes the process, rather than the final product in the creation of a design. He takes a very methodological process to describe the process in which an idea or thought becomes a more tangible item.

In practical terms, this aims to rationalize and quantify how something comes into physical being, somewhat akin to the scientific method. This creates a consistency in the process, something that is often desirable in the eyes of a designer.

On a more abstract level, the emphasis on said process and methodology can be seen as lesson on the peculiarities of even the most mundane objects, i.e. that even simple objects of everyday use require complicated steps to take form.

Initially, the reading was interpreted as how can one abstract an existing form. As a result, observations in a ordered manner were taken into how the form of a coffee filter can be manipulated based on its present material qualities.

Fig. 6 & 7 - Initial Abstractions of Task 1.2.


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1.2 HOW TO LAY OUT A CROISSANT

Scale is 1:2 for topmost drawing.

When the coffee filter was deconstructed, a net structure was revealed, with on edge a folded edge that connects the two faces together. On the opposite edge, a crimped binding depression was found.

Using the reading as a guide, an assumption has been made into how the coffee filter is assembled. Initially, the coffee filter’s net is cut out from a singular piece of material and removed from the original sheet. It is then folded at the midpoint to create the two sides. Finally the edges are fused together in a crimping process that most likely either required a wet or heat process to do.

Fig. 8 - Additional Abstractions of Task 1.2.


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1.5 RHINO TUTORIALS


Fig. 9 - Curves. Fig. 10 - Polygons. Fig. 11 - Curve from Two Views.

Fig. 12 - Surface from Planar Curves. Fig. 13 - Extruded Curves. Fig. 14 - Rail Revolve.

Fig. 15 - One Rail Sweep. Fig. 16 - Two Fail Sweep. Fig. 17 - Lofting.

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1.7 DIGITAL MODEL MAKING

IDEATION : WEEK TWO 1.0

Fig. 19 - Angle View of Rhino Model. Fig. 19 - Angle View of Rhino Model. Fig. 20 - Angle View of Rhino Model.

Fig. 21 - Top View of Rhino Model. Fig. 22 - Front View of Rhino Model. Fig. 23 - Side View of Rhino Model.

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IDEATION : WEEK TWO

1.8 PHYSICAL MODEL MAKING

For making a physical model, init ial ly a reproduction using regular paper was made and attached using glue rather than a crimping process. The end result was not as successful as anticipated in that the integrity of the bond wasn’t as strong as the original. This was found to be because the use of crimping at the edge creates multiple planes of contact that are harder to break apart than a single plane of contact.

After making that model, another alternative found was an origami folding technique that is quite common and is used to make cups. The advantage of this is that the filter is made now from a single piece of paper, is more resilient because of all the folds retains its shape far better than the other physical model.

Fig. 24, 25, 26 & 27 - Physical Model Recreations and Drawings

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1.0

1.9 PERSONAL SPACE

Personal space can be viewed in both the literal and metaphorical sense. According to Edward T. Hall (1966), there are varying levels of space and each has its own particular reaction by multiple parties - the closer one individual is to the other within these spaces, the more intimate the reaction.

This intimacy is a clear expression of social values and customs in society and as such there are varying conceptions of what is and isn’t personal space. In some cultures, physical contact is avoided quite often whereas in others it is considered perfectly normal. These varying differences in the definition of personal space has a perverse affect on society and can be seen in what is considered acceptable and what is not.

But at its very essence, personal space is about interaction at a sensory and cognitive level - the perception of one’s own interactions with others and vice versa. We use all of our senses in the process of interacting with an individual and as a result, in some instances we take this for granted.

As such, the way in which personal space will be explored in the design of a second skin is how limiting or completely removing one or more senses can have an effect with interactions within one’s own personal space.

Fig. 28 - Edward T. Hall’s Reaction Bubble.


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UBLIC SPACE (7.6M)

SOCIAL SPACE (3.6M)

PERSONAL SPACE (1.2M)

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TIMATE SPACE (0.45M

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1.9 SECOND SKIN : OPTION A

Option A explores the idea of limiting or nullifying all the senses associated around the head. The premise is that by limiting hearing, smell and in particular, sight; the boundaries of personal space become much smaller without the individual being aware of such.

The skin would be constructed out of paper or cardboard, enveloping the whole head much like a helmet but with a tighter fit. The three options explore as to what degree this would be done.

The loose net skin would be more akin to a spider’s net, but far more abstracted in pattern with varying densities depending on the location. This would still allow the majority of the senses to remain unobstructed, creating little or no effect.

The flexible woven skin would take the same concept, but with wider, more concentrated bans in a more rigid structure. In this case, the majority of the senses would be blocked out.

On the extreme end is the expand and compress skin which use various triangular panels joined together with each of the panels expressing a n expand or compress pattern. The skin would be thick enough to heavily suppress or completely block the senses, not only completely altering the individual’s concept of space but also potentially creating a heavy emotional response.

Fig. 29 - Option A Concept Sketches.


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1.9 SECOND SKIN : OPTION B

Option B explores limiting solely sight using the phrase ‘don’t judge a book by its cover’. As human beings, we’re innately judgmental of first impressions and how one presents themselves to others. By limiting sight, it is hoped that this would limit its effect on personal space between to individuals.

The mesh band creates a gauze like skin around the eyes, creating a distorted view of the world. This works much like a camera out of focus, blurring out all the sharper details and leaving only a soft mix of colors visible to the human eye. The pattern used for this would be small and intricate, making use of multiple layers of paper.

The ‘holed’ band would have multiple opens in a random distribution along the band, leaving limited openings for sight. This would heavily manipulate field of vision for the wearer, leaving them without the ability to glance to the side.

The solid band works much like the third idea for Option A wherein a series of interlocking plates block sight completely over a heavy skin. This would require a heavy dependence on other senses to compensate. Social interactions within personal space would be especially impeded upon as a result.

Fig. 30 - Option C Concept Sketches.


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1.9 SECOND SKIN OPTION C

Option C explores the notions of personal space differently to Option A and B in that no senses are particularly limited, but rather the effect on personal space is more dependent on the person who is interacting with the individual. Much like in Option B, this relies on first impressions and appearances. Different patterns and colors convey different feelings and reactions. Using inspiration from a Japanese Noh mask, a particular pattern would be placed on the mask to convey a particular presence towards others.

The first pattern is irregular and curved, flowing along the mask in concentric waves. This would be done using wet paper folding techniques. The pattern is intended to convey a sense of enigmaticness and confusion.

The second one uses sharp angular lines to create a heavy and imposing feel. This idea is similar to ones seen in Options A and B but instead uses multiple layers of panelling to convey this, as well as to give weight to the mask’s appearance.

The modular pattern would use a regular tessellating pattern to present a mundane and unassuming appearance with the intention to be deceiving to those approaching the individual. The pattern would be created in modular panels that would be joined together using an interlocking system.

Fig. 31 - Option B Concept Sketches.


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IDEATION : REFERENCES 1.0

Hall, Edward T. 1966. The Hidden Dimension. 1st Ed. N.P. Doubleday.

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M O D U L E T W OD E S I G N

GROUP COMPONENT | JACINDA ANTONIA 622256 | DANIEL FORRESTER 640358 | MITCHELL SU 660192

DESIGN : WEEK THREE 2.0

2.1 DIGITIZATION

Fig. 32 - 123D Catch Digitized Human Form Model.

For our digital model developed through 123D Catch, we used Jacinda as our model. The final product delivered a somewhat quasi-accurate form that showed results best on the upper half of the body as a result of Jacinda’s checkered top. Small refinements were made to smoothen out parts of the model produced by 123D Catch but not it was not possible to remove all foreign protrusions from the model.

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2.2 CONCEPTUALIZING IDEAS

Fig. 33 - Observation of Snail.

At the beginning, our inspiration to define personal space came from the notion of a shell’s snail. The idea is that the shell is the personal space of the snail itself, a home in every sense for it. The snail carries it everywhere on its back and whenever it feels danger or is threatened, it will retreat back into it to remain hidden

Drawing from that, we determined that our second skin should convey a sense of territory. We also thought about the idea of second skin that is portable and is responsive and dynamic to the situation at hand. This is because we feel that personal space is not something that remains static, but rather changes according to an individual’s mood. For example, sometimes we feel the need to socialize with others in some instances, require privacy.

Fig. 34 - Wearable Geometry (Hrustic 2010).

In the fashion world, it was observed that the use of the material systems of panel and fold along with section and extrude have been applied before in a wearable form.

As shown above, a simple and modular geometric form has been used in a pattern then abstracted with variables and changes to create a more complex and unusual appearance. The use of paper or cardboard as the principle material lends the design a rigid and somewhat solid material quality that isn’t normally seen in fabrics.

Fig. 35 - Paper-based Fashion Accessory (Veasyble 2010).

Another item of wearable geometry found somewhat addressed the ideas of personal space as explored before by limiting sensory perception under a shell.

The accessory uses a section extrude kind of materials system that relies on a concertina mechanism to create a blind fold that covers the eyes like a shell. The use of a concertina is interesting in that this provides an otherwise static and rigid pattern with a mechanism to move and change with the body. However in saying such, this would be difficult to implement at a larger scale whilst still producing a stable design.


2.2 EXPERIMENTATION

Fig. 36 - Paper Filter Digitization and Patterning Experimentation.

Then initial prototype drew from one of our group member’s, Daniel’s idea and his abstraction of a paper filter. This involved digitizing the abstracted paper filter into Rhino and then multiplying it into an array or pattern. The digitized model of the object produced an item that was rather crude in appearance. The sides were too angular and lacked the subtle softness of paper. The object was then stacked and arranged on top and beside each other, creating a more voluminous form. Another option trialled was mixing the same object together with different sized versions of it. This produced a curvature that could be used to produce a curved plane for the concept of a second skin. This reflects on another idea to use tessellating origami to take advantage of the panel and fold system in our design for the second skin prototype. Unfortunately, Rhino lacks the finesse and malleability to make something that represents origami in a digitized form.

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2.5 INITIAL PROTOTYPING

Far Left: Fig. 37 - Stacked Module Arrangement Prototype.Center Left: Fig. 38 - Tiled Module Arrangement Prototype.Center Right: Fig. 39 - Reversed Stacked Module Arrangement Prototype.Far Right: Fig. 40 - Whole Context Clay Model Prototype.

In the tutorial this week, initial prototyping of the group concept involved manipulating the arrangement and use of a single simple module i n t o a m o re c o m p l e x a n d m e a n i n g f u l arrangement. This resulted in expanding the paper filters and their folded properties all while adapting it to the notions of section and profile.

Initially, the modules were just stacked one on top of the others, resulting in a form that resembled the profile of a pine tree. This form proved to be not so flexible and offered little possibilities of expanding it to a larger context.

In the next prototype, tiling the modules produced a spherical form that could be folded

quite easily into a more compact shape. The prototype showed much potential in being extended upon more as the current form factor of it is still much too close to being just a sphere. Potential extensions to this prototype could include more irregular patterning arrangements and introducing varyingly sized modules into the tiles.

In the third prototype, different sizes as well as reversed stacking were introduced into the arrangement. This ultimately produced a diamond-esque form that had more complex forms but it too also proved to be inflexible in creating more complex arrangements.

For the clay model prototype, this was merely to give a sense of the context and the volume the second skin could potentially occupy. Based on observations, it seems that the concept our group is going after would create a very imposing and heavy appearance. While not undesirable, it has

the potential to become too overpowering and remove the intention of creating an item that focuses on the personal space of the individual, instead drawing all intention to the second skin.

DESIGN : WEEK FOUR 2.0

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2.5 EXPANSION ON INITIAL PROTOTYPING

Right: Fig. 41 - Prototype 1.Far Right: Fig. 42 - Prototype 2.

From the observations that were gathered with the initial prototypes, two ideas were formed.

The first was to create a back shell composed of spike shaped protrusions created by stacking the paper modules. The intention is to create a protective back cover that shields the wearer from unwanted interactions since it is difficult to know what is happening from the behind - a compensation of the limits of our field of vision essentially.

The second was to create a protective shell around the user that could be a mobile shelter. This was done by extending on the observation that the paper modules could be tessellated into a pattern that subtly develops a slight curvature as it is expanded. This would create a new zone of personal space that effectively isolates the wearer from the exterior environment.

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2.5 PRELIMINARY PROTOTYPE 1

Top Left: Fig. 43 - Top View.Top Middle: Fig. 44 - Side View.Bottom: Fig. 45 - Isometric View.

This design looks at the idea of tessellating 1 panel to create interesting shapes. This idea goes back to the original inspiration of a spiky shell that can fold in and out. Consisting of 115 panels, the centre spine connects the main shell shield to the body of the design. This spine has 4 large spikes along it extruding approximately 12 cm back. These spines are designed to protect the back, most vulnerable region of personal space, by scarring off potential threats like a porcupine. The back shield consists of 652 panels, half the size of the ones on the main spine. This shield acts as a protective shell to further protect the wearer/ user and give them piece of mind that the most vulnerable part of their personal space is protected.


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DESIGN : WEEK FOUR


Top: Fig. 46 - Front View.Bottom Left: Fig. 47 - Pattern Detail.Bottom Right: Fig. 48- Individual Module.

This design builds upon the idea of a snail shell by creating a foldable system that expands into a aspherical shape that covers the whole body with the exception of the legs.

The prototype was constructed using newspaper cut into circles and folded into the same shape as in prototype one. However, the difference in the design is in which how the pieces are arranged. Three pieces are arranged initially in what looks like a rose and then joined together with other modules to create a spherical arrangement.

This eventually produces a shell that can be folded and compacted into a smaller volume that occupies significantly less space than when it is expanded.

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2.6 DESIGN PRECEDENTS

The design precedents for this concept is not only represented in experimental fashion concepts but also within the way evolution has progressed in nature. This begins with how organisms have evolved to have shells that are not only a means of protection, but also a mobile ‘home’ for all intents and purposes.

The snail has a generally very smooth and soft body that is exceedingly fragile. As a result of this, evolutionary adaptations have caused the snail to develop a shell that prevents them from drying out and also serves as an exoskeleton.

Fig. 49 Snail in Idle Position (No Name, N.D.)

When threatened or in hibernation, a snail will retreat back into its shell as a response to its personal space being invaded.

This leads onto how this idea of a mobile shelter is applied in fashion. As talked about earlier, the use of paper in origami for its modular properties and sharp, crisp qualities have also been explored considerably. This ties in well with the material systems of panel and fold as well as section and profile - both of which are being explored in the concept.

Fig. 50 - Geometric Paper Dress (Hrustic 2010)

In the photo above, a dress using a geometric pattern has been constructed from thick paper. By changing the geometry on an individual basis, it’s possible to create a curved form from rigid shapes. The paper in this instance takes form of a shell - a protective layer like with a shell.

Fig. 51 - Foldable Paper Shell (Veasyble 2010)

This has been further extended by making the shell more practical wherein it is a collapsable structure. The shell addresses personal space by creating an individual space from everything else when the bag is unfolded. These design precedents both in fashion and in nature have led to the culmination of a concept under the materials system of panel and folded, along with section and profile.

The concept entails creating a second skin that encapsulates the user and separates them from the existing space by forming new boundaries that outline a more intimate and personal space. By adding a foldable or dynamic element, the second skin is then made more responsive to the needs of the wearer.

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2.8 SHANGHAI EXPO UK PAVILION

Fig. 52 - UK Pavilion (Xia 2010).

The UK Pavilion at the Shanghai Expo in 2010 was designed by Thomas Heatherwick and used design to manipulate light and movement to create an organic and humanistic effect to how the building presents itself. The structure of the UK Pavilion appears to be a cuboid form with numerous stick protruding from the surface. Within it, the sticks protrude inside as well and play a key role in the overall design of the building.

The human mind has an affinity to the effects put to play by light. The temperature, or color along with the patterns and intensity of light have an adverse affect on human behavior. These changes occur due to alterations of biochemical processes within the body. This can be the difference between an active and tired mind (Siemens, 2013).

Heatherwick has played this to the UK Pavilion’s advantage by creating an interplay of light that integrates with the surrounding area of the pavilion. This creates dynamic lighting conditions that portray a continuous and seamless link to the environment outside while still maintaining a sense of territory. This is done by using acrylic rods that suspend seeds in the center that act as giant optical fiber lines that transmit light into the structure. The light portrayed inside is completely dependent on the weather conditions outside and the time of the day as well. Weather such as a cloudy day would be represented in a nuanced pattern inside by virtue of this lighting effect.


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DESIGN : WEEK FOUR

The second key effect to the UK Pavilion’s design is the use of movement to create a sense of the organic traits of the structure. Each of the rods on the structure are not in a fixed position and can be influenced strongly by weather patterns. When the exterior conditions are windy, the rods will quiver ever so slightly, with the intensity of the movement depending largely on how strong the force of the wind is. This responsive method of designing the building lends itself an organic appearance to what is otherwise a very stark and artificial structure.

It is important to note that a key aspect of Heatherwick’s designs are that there is a notion of how design is not developed in a vacuum, but rather needs to maintain a symbiosis with the environment surrounding it. Paying sympathetic attention to the context is and being true to the physical and intrinsic qualities of a material can enhance that effect. This will be further explored in relation to the readings and conclusions from both physical and digital prototypes developed so far.

Top Middle: Fig. 53 - Interior Fixture Detail (Xia 2010).Top Right: Fig. 54 - Exterior Fixture Detail (Xia 2010).Bottom: Fig. 55 - Interior of UK Pavilion (Xia 2010).

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DESIGN : WEEK FOUR

2.8 LOST IN PARAMETER SPACE?

Fig. 56 - Kilden Performing Arts Center Roof Model (Scheurer and Stehling 2011).

In this week’s reading, the concept of abstraction in digitizing physical objects was brought into question, leading to a term called abstraction. Abstraction is broken into two key types; normalization and reduction. Normalization is wherein redundancies in a set of data are removed to reduce the total entropy present whereas reduction concerns itself on creating the most optimal set of instructions whilst producing the same end result. Both rely on turning chaos and randomness into a set of rules and trends that can be easily represented with raw numerical figures. In the figure above, the roof of Kilden Performing Arts Center in Norway is modeled along a set of points that could be physically plotted onto a system of coordinates. The undulating curves of a roof have been simplified by extrapolating a formula from the set of coordinates, creating an easy to analyze digital visualization whilst retaining the desired precision for construction. As we can see, when creating such a design through CAD, abstraction is the most optimal way to bring order to what is perceived to be chaos and randomness, resulting in a more tangible form overall.

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DESIGN : WEEK FOUR

For a design like Shigeru Ban’s Haesley Nine Bridges Golf Clubhouse, the use of abstraction works particularly well because there are a well defined and highly visible set of rules that can be derived from the building’s roof and column structure. This simplifies the process of creating a structurally sound support system for the building, resulting in a high level of efficiencies.

However, the real problem lies with a design that relies on a more organic and physical approach. With the prototype two model, the pattern was derived by repeating a tessellation with origami and gluing these segments together. In a CAD program, this is arguably difficult to recreate as the conventional laws of physics do not apply here. Using abstraction to display each and every subtle fold in a digital model was found to be exceedingly difficult and tedious, hence no digital model could be recreated.

Given the current level of technological advancements in CAD, this marks the limits of abstraction of a physical form into the digital world - wherein the methodical system of 3D modeling cannot realistically compete with the malleable ingenuity of the human hand.

Fig. 57 - Roof Detail of Haesley Nine Bridges Golf Clubhouse.Fig. 58 - Pattern Detail of Prototype 2 Model.

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DESIGN : WEEK FIVE 2.0

2.8 PANEL & FOLD

Fig. 59 - Paper Filter Abstraction.

Our materials system for our design is centered around panel and fold. This was interpreted as the malleability and modularity of a material which in this case was well represented by paper/cardboard. This initially began with measuring and observing the qualities of a paper coffee filter and then investigating what could be done with it. The key observation developed from that was how paper has a very crisp and rigid quality that when grouped together properly, can be extrapolated into a tessellating pattern that is structurally stable and highly scaleable.

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2.9 WHAT IS PERSONAL SPACE?

Top: Fig. 60 - Instance Where Personal Space is at a Premium (Dat 2011).

Our group has defined personal space essentially as what we mark as our zone of interaction. This zone of interaction is where the majority of social interactions occur witch each of these having emotional and physical reactions. Personal space is not only about the physical space you feel comfortable having other people entering, but also possesses sight and aural components.

For example, loud environments as well as the scrutiny perceived by people staring at you can also cause individuals to feel as if their personal space is being compromised. Within a crowded train, the reality is that you are clustered with over 200 other commuters in a small aluminium tube that limits physical space, causing discomfort. Despite this fact, people often find it hard to look somewhere where there isn’t another person, unless they are occupying a window seat. This leads to uncomfortable gazes that further add to the uncomfortable tension of within a train.

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2.10 DESIGN BRIEF

Middle: Fig. 61 - Volumemetric Prototype.Top Right: Fig. 62 - Paper Prototyping.Bottom Right: Fig. 63 - Paper Prototyping.

- Materials System- Panel and Fold- Possibly Profile and Section

- Physical Materials- Must be paper, cardboard or similar

- Function- Creates a mobile shell- Creates an internal personal space isolated

from the rest of the world- Is protective (in the figurative and emotional

sense)- Dynamic (moving) form- Changes in response to the user’s context and

needs- Aesthetics

- Occupies the majority of the body when in full use

- Clean lines and forms- Conveys a sense of purity and sanctitude- Appearance of safety

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2.10 CONCEPTS AND PRECEDENTS

A significant amount of inspiration came from the snail in terms of to defining personal space. The idea is that the shell of a snail is the personal space of the snail itself. The snail is a very fragile creature, possessing a very soft and weak body that can be easily harmed. However, to compensate for this, they have evolved to develop shells to protect themselves with. The snail carries the shell on its back and will retreat back into it given any sign of endangerment or of a threat. The snail conveys a sense of home with its use of personal space.

Fig. 64 - Observation of Snail.

The use of paper in origami is highly effective due to its modular properties and sharp, crisp qualities. These aspects have been explored considerably and even applied in a more wearable form. The beautiful part of tessellating modular origami is how by introducing a range of variables into a pattern, it is possible to create a curved form from rigid shapes. This can result in a closed form suitable for creating form that possesses considerable occupied volume as shown in the fashion piece in Figure 67.

Fig. 67 - Wearable Geometry (Hrustic 2010).

Another wearable fashion concept is the possibilities of a compact and mobile shelter. As shown in Figure 68, a compact and foldable has been reduced to the size of a medium sized bag but can then be expanded to a larger portable shelter on demand. A responsive design such as this is highly desirable as it creates a dynamic form that displays a sense of conscientiousness to the context at hand and the various form personal space can take.

Fig. 68 - Foldable Paper Shell (Veasyble 2010),

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2.11 PRELIMINARY IDEA

Fig. 69 - Paper Filter Digitization and Patterning Experimentation.

Our preliminary idea derived from these precedents and concepts was the application of them into the materials system of panel and fold. The coffee filter abstraction developed by Daniel was digitized and a pattern came through from this. It was observed by introducing the concept of variables to a constant pattern that an aspherical shape began to take form. This resulted in four different objects that used the same base module. The next step was over how to develop this into a larger scale format that could be used in a second skin.

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2.11 PRELIMINARY PROTOTYPING

The first prototype with individual modules was created by stacking. This produced a long spike shaped form likened to that of a pine tree. Unfortunately, it had little flexibility in terms of tessellation beyond a vertical direction and was deemed ineffective.

Fig. 70 - Stacked Module Arrangement Prototype.

The next one attempted was to tile the modules together from edge to edge. This produced a spherical shape much like in the preliminary idea. This proved to be a highly desirable idea as further experimentation showed plenty of promise when scaled and tessellated in multiple directions.

Fig. 71 - Tiled Module Arrangement Prototype.

Another attempt to make the stacking pattern work by stacking in alternate directions did nothing to improve the potential of the concept compared to the spherical prototype (Figure 71).

Fig. 72 - Reversed Stacked Module Arrangement Prototype.

A separate, fourth prototype was attempted to observe the impact of the form on a larger whole-body scale. The end result created a very imposing and heavy appearance form that has the potential to become too overpowering and remove the intention of creating a second skin that focuses on the personal space of the individual

Fig. 73 - Whole Context Clay Model Prototype.


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Fig. 74 - Preliminary Prototype 1.

The idea of tessellating a single module is used here to create interesting forms. This idea goes back to the original inspiration of a spiky shell that can fold in and out. The centre spine connects the main shell shield to the body of the design with four large spikes along it. These spines are designed to protect the back, most vulnerable region of personal spaces. The back shield consists of multiple panels, half the size of the ones on the main spine. This shield acts as a protective shell to further protect the user and give them piece of mind that the most vulnerable part of their personal space is protected.



Fig. 75 - Preliminary Prototype 2.

The prototype was constructed using newspaper cut into circles and folded into the same shape as in prototype one. Three pieces are arranged into triangular modules that somewhat resemble flowers and then arranged into more complex arrays inspired by buckyballs. The various polygons produced by tessellating the modules are what produce the necessary variations to create a slight curvature in the surface which would then eventually close into a spherical form like in Figure 71.

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Fig. 76 - Prototype 2 Further Development Sketch.


2.12 FURTHER DEVELOPMENTS

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Fig. 77 - Prototype 2 Further Development Digital Prototype.


2.12 FURTHER DEVELOPMENTS

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Fig. 78 - Final Digital Prototype.


2.13 FINAL DIGITAL PROTOTYPE

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DESIGN : WEEK FIVE

2.13 FINAL PHYSICAL PROTOTYPE

Top: Fig. 79 - Top View.Bottom Left: Fig. 80 - Topside Pattern Detail.Bottom Right: Fig. 81- Front View.

The final physical prototype is a refinement of Preliminary Prototype 2. The material used is a higher GSM paper rather than newspaper as this proved to be too unstable at a large scale.

The overall form as shown in Figures 76-78, is meant to be a large spherical shell that opens and closes. In a closed state, the shell is intended to be worn on the back like a backpack and carried around similar to how a snail carries its own shell on its back. When being used, the shell can be closed to create a safe, solid and enclosed space that effectively shuts the wearer from the outside world.

Personal space is addressed in this design in that the shell is meant to be a sort of refuge, a mobile shelter where the wearer can mark their own territory and have clearly defined boundaries of what is their own personal space. This creates a sense of safety and security not found in public places as a result of the constant public scrutiny placed on individuals on a daily basis.

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Fig. 82 - Underside Pattern Detailing.

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Fig. 83 - Topside Pattern Detailing.

DESIGN : REFERENCES 2.0

Dat. 2011. Crowded. Image. Accessed September 4 2013. http://farm3.staticflickr.com/2769/4438368580_22f5d82b7b_o.jpg

Hrustic. Amile. 2010. Platonic Geometry. Image. Accessed August 27 2013. http://www.likecool.com/Style/Design/Wearable%20geometry/Wearable-geometry.jpg

Hrustic. Amile. 2010. Platonic Geometry. Image. Accessed August 27 2013. http://www.likecool.com/Style/Design/Wearable%20geometry/Wearable-geometry_2.jpg

Gizmodo. 2012. Untitled. Image. Accessed August 20 2013. http://img.gawkerassets.com/img/17g95iw82excsjpg/xlarge.jpg

No Name. N.D. Untitled. Image. Accessed August 27 2013. http://www.vanderlee.com/plugins/filteroptix/speeding_snail_-_before.jpg

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Xia, Charlie. 2010. UK Pavilion. Image. Accessed August 27 2013. http://www.flickr.com/photos/49747573@N05/4585150911/




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Documents

Virtual Environments Journal M1-M2 Submission Compressed