VIRTUAL ENVIRONMENTS ENVS 10008SEMESTER 2

Madeleine Eyre587528

DESIGN JOURNALModule 4

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DESIGN BRIEFThe innovative design of a second skin;A wearable volume or surface that accomo-dates the bodyExplores the boundary of ‘personal spcae’

The body is the site of investigation.

(Lecture 1)

MATERIAL SYSTEM Material:“The matter from which a thing is or can be made”

System:“A set of things working together as parts of a mechanism, or an interconnecting network; a complex whole”

(Lecture 2)

INFLATIONMy system in focus was inflation, with the exam-ple of a kite. This object was studied in terms of its shape and volume and how it changed com-pared to when it was inflated and deflated.

Design documentation is an crucial element in the process of designing. In different industrial periods and with new technology comes new ways of designing and documenting (Heath et al 2000). For this reason, the kite was measured using a ruler and initially drawn onto graph paper then 3D Modelled on Rhino for the most clear, accurate and precise representation.

You created this PDF from an application that is not licensed to print to novaPDF printer (http://www.novapdf.com)

Scale = 1:5(Eyre 2013)

INFLATIONThrough experimentation with how the object func-tions, I was able to find that movement of the body to which the object was attached is what gave the object its volume. The nature of the material is what dominates the objects form and use (Heath et al 2000). Movement catches air which fills the kite’s chambers. Furthermore, the top layer of fabric comes out further than the lower layer so the kite is projected higher into the air. It is kept straight by the fins below guiding the air.

You created this PDF from an application that is not licensed to print to novaPDF printer (http://www.novapdf.com)

Kite inflated by air movement

Kite deflated

(Eyre 2013)

INFLATIONI took this experimentation further with this system and changed the aspects of the kite which made it function this way to see what the result would be to test the importance of such elements.

The result was a round kite. Its air entrance was smaller rather than bigger than the inner circumfer-ence. It did not have a top surface that projected outwards. It had no fins and had multilpe strings coming out of the back.

This enhanced my understanding of the kite as I was able to observe the way that this alternative desgin functioned. It could not maintain a straigh path and needed much faster movement to fill with air.

This proved that for objects to inflate with the movement of the body and air flow - wide fronts and fins are necessary features to guide move-ment and maintain form.

(Eyre 2013)

INFLATIONBefore generating creating more ideas, prece-dents were looked at and incorporated into new design sketches.

Other Sketches were made but these two were my most successful. The first however is not so much a second skin as a personal bubble. The second fails to incorporate any aspects from the kite’s inflaition but it better resembles a second skin.

The Aeolian The Safe Place

This design focuses on capturing air with move-ment like ‘The Aeolian’ does but on a bike. Sticks allow the change of form that tis design take so it can be personalised by the wearer depending on how they feel.

This design take a different approach to inflation where the air is held inside. I wanted to see what other options of inflation could look like on the wearer.

(Eyre 2013)

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(Photo of material, Allyson Patterson, 2013)

DESIGN BRIEFThe innovative design of a second skin;A wearable volume or surface that accomo-dates the bodyExplores the boundary of ‘personal spcae’

The body is the site of investigation.

(Lecture 1)

PERSONAL SPACEAs defined for this project:

“The boundary of space created by an individual through their perceptions, shaped by their mental and physical state, felt through the sensations of an auric field of energetic space”

The reading in week 2 (Sommer 1969) helped us formulate this definition. Sommer mentioned how some people percieve of an aura. This only applies to those who manifest that reality. Yet this is not to say that a simlar kind of perception exists as per-sonal space is not physically, but mentally felt. It is also reacted to differently by different people and changes depending on where they are and who with. Therefore it is determined by what the person thinks about where they are and who with and will react accordingly.

SYSTEMS EXPLOREDAfter module 1, I was paired up with Allyson Patter-son whose system was profile and section. We then explored the combination of profile and section with inflation to create some interesting results.

Personal Space Background (Eyre 2013

IDEAS

PRECEDENTS

REFLECTION

“It would be beautiful to dissapear. nowhere to be found. It would be beautiful to be the only one to know you have disspeared” - Elias Canet

“The mysterious power of thought en-ables it to produce external, percep-tible, phenomenal results by its own inherent energy” - Subba Row

“It is the function of the artist to evoke the experience of surprised recog-nition: to show the viewer what he knows but does not know that he knows.” - William Burroughs

(Fenella Elms)(Isabelle Wenzel) (Gjon Mili)

As described by Canetti and por-trayed by Wenzel, personal space can be creted by having a space into which you can retreat to be free from the outside world.

As personal space is a perception, created by thought yet still felt if invaded, the design aims to emulate this.

People whether they know it or not are showing their perception of per-sonal space and defining it through their movement and reactions.

(Eyre 2013)

THE DESIGN PROCESSFirstly, to source precedents relevant to body architec-tur/architectural fashion, Allyson and I created individ-

ul “Pin Boards” on “Pinterest”..

Allyson’s: http://www.pinterest.com/alpats/sizzling-sections-infa-

mous-inflatables/

“Inflatable Art” (Eyre, 2013)

Mine:http://www.pinterest.com/madeleineeyre/inflat-able-art/

This helped our design process by being able to easily access a huge variety of designs. We could then incpo-rate these into our ideas. We continually went back to our boards to find more precedents or be reminded of older ones to see how our thinknig had changed.

“Sizzling Section | Infamous Inflatables (Patterson, 2013)

DIGITIZATIONIn order to create and test our ideas using rhino, we modelled myself on 123D Catch. Allyson took photos of me, I then uploaded them and created the model.

(Patterson 2013) (Patterson 2013)(Patterson 2013)

123D CatchThe model I created had some bumps but over-all was effective in order to begin modelling our

design.

123D Catch Model (Eyre 2013) 123D Catch Model on Rhino)Eyre 2013)

DESIGN FORM & CONTENTThe form that the design would take was our next challenge. With advice given in the third lecture, we had to address the aims and challenges of our design. The most challenging thing was tryign to in-corporate the two systems. Allyson’s being section and profile - a system that works with flat sufraces does not easily incoporate the inflatable system.

Prototypes were looked at to assist us.

Allyson looked at Dora Keleman’s Angel. It uses flat surfaces to create something which can expand and contract.

Allyson’s Rhino model reflected components of this design, creating a personal space using section and profiling and by creating fins with panelling tools onto the grid she created. The fins fill with air and inflate to create extrusions.

(Patterson 2013) (Patterson 2013)

Her aim was to create a sense of personal space and allow the wearer to be able to view te external world yet be protected.

My Rhino model aimed to create a shell around the wearer to enable them to hide in and emerge

from their personal space boundary. It incorpo-rates section and profiling where the lines connect

at the front and inflates by movement to give it a shell like volume.

Shell (Eyre 2013)

(Nautilus Shell )

Shell (Eyre 2013)

(Eyre 2013) (Eyre 2013)

PROTOTYPE EXPERIMENTATIONI created a prototype of my shell to test its ef-fectiveness as a second skin and its capability to inflate.

It was created using plastic bags cut up to create the front netting. At the intersections of the plastic sheets, the section and profile technique was used . Plastic table coverings were used to create the shell. This materiial was thicker and more durable. double sided tape and duct tape was used to keep it together.

Photos by Patterson, Prototype by Eyre (2013)

The prototype was dynamic and took on many different forms depending on the movement of the body within the shell.

Due to the heaviness of the plastic and the de-sign, it did not fully inflate unless with fast, powerful movement. However, it did inflate slightly.

It worked well as a second skin but the design required structural improvements to make it more effective.

PROTOTYPINGAllyson created a prototype which focused on

the flexibity of the section and profile system . This showed how this system coul inflate and collapse. She used a cockatoo crest as a prototype for the

effect that this has in terms of creating a persnal space boudnary. It raises its crest as a form of de-fense when its personal space has been invaded

This physical characteristic represent the mental state of the bird by manipulation of skin. Thus, it is

relevant to our defintion of personal space. Taking this mechanism , allysons prototype collapses and

inflates to portray personal space.

(Patterson 2013)

(Patterson 2013)

DESIGN EFFECTS Following week 4’s Lecture on “Design effects”, other precedents were looked at. In addition to this research being on aethetic and material system perspectives, it was focused on the effect that the design had.

We studied Thomas Heaterwick’s “Seed Cathedral”. Heatherwick deconstructed his brief and defined ele-ments it that he thought were important and reflected this in his design. He created effects such as illumination through the fibreglass rods he used. This gained more effect through repetition of this element on a large scale. To represent the future of cities, seeds were incor-porated into the design in the rods. He demonstrated how simple structural elements can achieve effects in many ways just by defining what you want to achieve and the effect that you want to have and them simpli-fying this.

This made me reflect on my design and question how we can achieve effects in addition to the system and how to simplyfly how the design works.

(‘Seed Cathedral’ Heatherwick, T. 2010)

I then looked at Aleksandra Kasuba’s ‘Cucoon Dwelling’ as a precedent. The inner structure creates the volumetric qualities. It is also attached to tree branches which are a part of the external environment. This demonstrates the push and pull factors that a personal space can have, driven my mental state and physical surroundings. This design has a serene effect and creates a cucoon to rest within and hide from the ouside world.

This can be incorporated into the design by using some skin and bone elements to give the design more structure as the previous prototype showed that movement allone struggles to fully inflate fabric.

(‘Cucoon Dwelling’ Kasuba 1972)

The next design incoporated these elements. Although this design is not simple, it is a part of the process. by manifesting these ideas, we can then begin to transform.

This design incorporates section and profiling in a spine and rib cage form. inside is a plastic skin. with movement the ribs open to reveal the wearer in-side. They then close to conseal and retreat into a personal space. In darkness, the wearer is alone to reflect on their personal space. Open, the person is open to the bombardment of the outside world.

(Eyre 2013)

RHINO MODELThis was modelled on rhino. The design lingered a bit from our original definition of personal space.

The design effects were not very evident and the wearer is a bit too concealed and this risks looking

messy one made.

A successful part of this design however was the section and profilng that created the support for

the structure than sat on the shoulders. This was kept and used a base for other designs.

(Eyre 2013)

(Eyre 2013)

DESIGN EFFECTTo move towards achieving design effects that were aligned with our definition of personal space, elements of the material and the form moved to-wards creating something that resembled an aura or energy.

We kept the shell form as this clearly defined a boundary.

Sketches were drawn to try and manifest our ideas and try to show eachother what was going on in our head as words alone were couldn’t get mes-sages across.

Yet despite this, it seemed we were still on very dif-ferent pages considering the differences between how we modelled our ideas on Rhino. This could be because of the retaining of different ideas from dicussion which were not properly defined and the use of different ideas that were talked about and perhaps forgotten or not included. However, this made the process more intertesting by seeing different perspective that could drive our design process further.

My model was more concerned with being able to construct the form and have it work as a defined volume and personal space boundary. Allyson’s was coming from more of a conceptual perspec-tive and the fabric at the back would move with air.

(Eyre 2013)

(Eyre 2013) (Patterson 2013)

(Patterson 2013)

PROTOTYPINGSo far, the most solid element of our design was the

shoulder brace so I unrolled the surface and pre-pared a template for fab lab to print in perspex so

we could test how secure it was and if we should continue using this part of our design.

To test the rotating aspect of the design that was modelled in rhino, from which the spikes came our, a prototype was also made. This was unsuccessful

however as the notches that would allow the piec-es to slot together were too long and so the whole structure was wobbly. therefore we decided not to

use it.

(Eyre 2013)

Prototype (Eyre 2013) Photo (Patterson 2013) Prototype (Eyre 2013) Photo (Patterson 2013)

Prototype (Eyre 2013) Photo (Patterson 2013)

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Fortuny’s Gown (Fortuny

FEEDBACKWhile the prototype worked well and there was evidence of a lot of work, process and idea, the design was lacking architectural elements. It also needed to be more ‘inflatable’ and work better with movement. Areas to look at were how to map movement and create a design which incoporates this so that it will inflate that way. In terms of material, pleating was suggestied, particularly Fortuny and Issay Miyake’s techniques.

REFLECTION Team work was going well. We got everything we said done and were happy to have more room to progress. The opennes of our ideas and the fact that the model still wasnt entirely ‘makeable’ meant that we could now start incorporating these suggestion and mind new ways to create.

“Even when making is experimental and open-ended, it observes rules. Craft always in-volves parameters, imposed by materials, tools, scale and the physical body of the maker. Some-times in making, things go wrong. An unskilled mak-er, hitting the limits of their ability, might stop. An expert, though, will find a way through the prob-lem, constantly unfolding new possibilities within the process” (Daniel Charny 2012)

MAKING

PRECEDENTSFORTUNY’S DELPHOS GOWNFortuny designed this gown, drawing inspiration from the ‘Knossos Scarf’; designed to be able to in any way, to allow freedom of movement and ex-pression of the body. This was to counteract cloth-ing which as the time, enclosd the body like a shell (Elmslie 2012). Therefore, this fabrication technique was entirely relevant to our design. It introduced to us a way to use fabric that would be given life with movement.

This technique is achieved by heat setting polyes-ter in boiling water.

ISSEY MIYAKE - PLEATS PLEASE Issey Miyake’s designs from his series, ‘Pleats Please’, show show pleating can be given life by inorporating structural elements. The models dance and the fabric can bounce and inflate.

AKIRAAkira’s design shows another method of pleating. The pretruding spikes are flexible and can expand and contract. Therefore is it relevant as energy is contained within these spikes from the contraction and expansion and reflect this aspect of the de-sign where the personal space is an energetic aura created by perception and inflated by movement.

(Fortuny 1920) (Issey Miyake 2013)(Isogawa 2012

PRECEDENTSMaping movement has enabled us to gain an

understanding of how we can create a design that will work. Duchamp’s illustration shows a descend-

ing movement and a turn. Both of these are effi-cient ways of capturin air, as shown in my studies of the kite. Its form catured the air flow of such move-

ment to propel it upwars and inflate.

Allyson experimented with capturing air using a piece of fabric so we could do our own mapping.

(Duchamp 1912)

(Patterson 2013)

PROTOTYPINGI then tried to create some structures using a hands on approach to play with the forms that pleating and wire could create to inform myself on what could work as a final design.

The first prototype experimented with pleating, creating the pleats by gathering fabric over the frame. To create folds, the material was twisted and another wire frame was weaved through the two layers of fabric and sewn in place. This how-ever, did not show many inflatable or profile and section mechanisms but an interesting form none-theless.

The second prototype was therefore more fluid as it used lighter material and the frames were more easily moved. Theoretically, such a form would be attached to shoulder brace. The light material when pleated however was too heavy to catch air. So pleating had to be used in a different way to be light enough and have enough energy.

(Eyre 2013) (Eyre 2013)

So pleats in the style of Akira Isogawa were used. This was created by tying elastic bands around material that had been twisted to create a point. It was then placed into hot water to set.

(Eyre 2013)

PROTOTYPINGA disconnect between ideas of the design was stil evident in our protyping which meant that it was-

more effective as we got to test different methods of crafting our desgin. Allyson’s approach was not to have a shell but to have strips that would catch air. These were created using polyester and wire.

(Patterson 2013) (Patterson 2013)

DEVELOPMENT OF IDEASAs we had begun to become very focused on ma-terial aspects of the design. I decided to do some research into ideas about personal space in the hope that this may push the design in new direc-tion by being informed by different outlooks.

I was inspired by an article from ‘The New Sci-entist’(2013). Cognitive archaeologist, Lambros Malafourit argues that human intelligence spreads out beyond the skin into culture and the material word. I thought this refelcted the purpose of this design which is to represent the physical manifesta-tion of thought. He highlights how human engage-ment with the material world is what extends and reconneds the brain and the body, breaking with reductionist “internalistic” theories which would say that the mental realm is seperate from the physical realm. The sense of personal space is physical, it just is not seen. So this project will materialise a new sense that there is a divide and explore ways that objects become cognitive extensions or are incor-porated by the body. An example he uses is a blind person with a stick. It is hard to say then where this person’s self beguins as there is a unity with the blind man and the stick because the tactile sensation is projected onto the point of contact with the outside environment through the stick. this shows how the stick or in this case the second skin, can conceptualise minds as continuous and transformative.

(Recht 2013)

IDEA SKETCHTo incorporate this with the design, our definition

of personal space and second skin, I looked at the form of a ‘Plasma Ball’. It’s spikes of electricity flow towards to exterior of the glass ball it is in. When this

ball is touched, more electricity will flow towards this point of contact. The spikes in the sketch are

representative of the electricity. The light nature of the material will allow it to capture air with move-

ment and allow the fabric to move and recoil as the energy created within the spiral contracts when the source air is no longer present. Like the

a blind person’s stick is a physical link between the physical world and their consciousness, the design shows the link between the wearer’s boundary of

personal space.

(Eyre 2013)

(Museum of the Weird 2012)

DESIGN DEVELOPMENTThis experimentation brought us to some conclu-sions yet the whole structure along could not be made of material. It needed some architectural aspects to be incorporated. It still remained that panelling tools needed to be utilised. For this rea-son, I did exploration into the type of material that could be used.

It was concluded that tyvec was the most appro-priate. It is a fabric/paper that can we washed and crumpled to create softer shapes and enable it to be less rigid. _________________________________________________

Panelling tools were used to create a new de-sign. This kept shell and sail like features to include elements explored by both Allyson and I. Spikey pleating was included as an overlay over the shoulder brace. Originally, sticks were going to be used to hold the structure up, but this would ham-per the ability for the structure to transform with movement.

In order to create this, surfaces had to be unrolled and given tabs to put it together. The curved edg-es created by using a custom shape with panelling tools meant that we could not fold the surfaces but had to do each surface as a separate piece which made the process more time consuming. Thee form that this made was effective aethet-ically in the model but if it would be able to put together effectivly was a risk in this process.

(Eyre 2013) (Eyre 2013)

PROTOTYPINGA prototype was made to test the ability of this to inflate and how it would react to movement. The bulk of the shell was at the sides to catch air from

turning. It was open at the front so air would come is and inflate the sails at the back which would lift the shape up. One side was left open to enhance

this as the wearer turns to their right.

Yet experimentation showed that not all these elements worked as we would have liked. This

was partly due to the weight of the card we used which didn’t react to air movement very well. It did give us an indication that this structure would find it

hard to hold much air. This meant that the custom shape on the panel must have more volume and

cover a greater portion of the body - preferably the back as lots of air was lost through this open-

ing.

(Rhino file and fab lab template: Eyre 2013) (Creating the prototype: Eyre & Patterson 2013) (Photos: Patterson 2013)

RHINO MODELLINGThe past processes and experimentation brought us to the creation of this final model.

The openings at the front are designed to catch air flow from below to push the structure up and outwards.

Behind are deep spikes that are designed to fill with air and inflate with movement.

Over the shoulder brace is more pleated fabric which attaches to the back.

(Eyre & Patterson 2013) (Eyre & Patterson 2013) (Eyre & Patterson 2013)

(Eyre & Patterson 2013)

It is intended that with small as well as large move-ments, the wearer will be able to manipulate the form of the structure. It will expand and pull air inwards, turn and move air to the other side, col-lapse inwards and be able to explode outwards.

PRECEDENTSThese are the kind of visual effects we were going

for. Having the Model in white highlights the shape and form of the creation. Symmetry is a major

component aesthetically as well as the texture of the fabrics that wiere used. Notice the ability for

these designs to compress and expand. This effect will allow the design to transform with movement . These are very textile based but have structural

elements and follow a template for production. Yet the key to these pieces is craftmanship and sewing

skills.

(Kristie, F.; May, H. 2009)(Hagino 2013)(Paquin 1920)

(Eyre 2013) (Eyre 2013) (Eyre 2013)

PROTOTYPINGThe design aims to open out from the front. To test if this would work, we created some prototypes. These prototypes were successful and proved that this skin and bone method would work. It was also noted that these ‘sails’ pushed air inwards to the structure. These were on a much smaller scale though and so there was still some uncertainty as to whether the tyvek fabric would be too heavy for the wire to hold in shape.

(Eyre & Patterson 2013) Prototype: (Eyre 2013) Photo: (Patterson 2013) Prototype: (Eyre 2013) Photo: (Patterson 2013)

Spikes and pleating was also tested on the struc-ture to test its effectiveness. The spikes worked but it was uncertain if they would create more effec-tive ‘sails’ as the flat surface and whether the yvek fabric would work. It was also uncertain whether the pleats would hold their shape after being heat set and if they wouldcreate the desired effect.

PROTOTYPINGWith the arrival of the tyvec fabric from the art

suppliers, I could then test its compatability with the polyester fabric in terms of sewing and creating

‘French Seams’ which would allow the metal wire to be threated through for structural purposes.

(Eyre 2013) (Eyre 2013)

(Eyre 2013)

ORTHOGRAPHIC REPRESENTATION

obj(91)

obj(67)

obj(69)

obj(80)obj(63)obj(65)

Obj(44)

Obj(28)

(Patterson 2013)

FABRICATIONIn order to unroll surfaces and then create the

physical model, the Rhino model was divided up into sections. This helped label and identify pieces

and where they needed to go. The model could then be made in sections and assembled accord-

ing to this diagram.

(Patterson 2013)

UNROLLED SURFACESColour coding helped recognise the pieces when they were unrolled and put into a template for printing. Two files were made, one coloured as a reference and one non coloured for printing. For specific pieces, I could then refer to the coloured template to make sure I had the correct sheet.

(Eyre 2013)

(Patterson & Eyre 2013)

(Eyre 2013)

FABRICATIONEach piece was cut from the sheets of tyvek the

sewn together using French seams to avoid messy edges, create stronger seams and to allow for wire

to be used.

There were complications in the lazer cutting pro-cess as a couple of the sheet were cut in half by

the lazer printer. This means that more tyvek had to be ordered but did not arrive in time for the pre-

sentation date.

This meant that I had to be pragmatic in the fab-rication processd and use some pieces that were

meant for the back, to replace other pieces on the back. This transformed the design and lead to

further changes.

As the tyvek was already taking a lot of time to assemble, my ability to then cut each individual

piece from the card and then use as a template to cut the polyester in time was looking doubtful. This

meant some reconsiderations in the design as well.

(Eyre 2013) (Eyre 2013)

(Eyre 2013)

(Eyre 2013)(Eyre 2013)

(Eyre 2013)

FABRICATIONI decided that it would be best to incorporate the polyester heat setting/pleating that would also be used on the shoulder brace could be used to create the back. This would still create a spikey surface but would have the added bonus of the expansion and contraction and may be less heavy than the original design.

To do this, relevant pieces from the template were used to make sure the strips of polyester would fit. The strips were then places in boiling water for an hour and then sprayed with some stratch to assist hold their shape when hanging.

(Eyre 2013) (Eyre 2013) (Eyre 2013)

FABRICATIONThe fabrication process was very difficult as it

involved sewing bits together onto a big object. During the process, shapes and fabric had to be

distorted making the end result messier than would have been preferred. The use of tyvek though

made this easier as it was very strong and durable.

Close up photos below sjhow the amount of sew-ing that needed to be done to ocmplete this and

the coplexity of the design.

(Eyre 2013) (Eyre 2013) (Eyre 2013)

FINAL DESIGNThese photos show the mapping of movement and inflation of our design before presentation in week 10.

(Photos: Patterson 2013, Fabrication of model: Eyre 2013)

(Photos: Patterson 2013, Fabrication of model: Eyre 2013)

FURTHER DEVELOPMENTSAfter presenting our work we got feedback on improvements to make. In the two weeks remain-ing until our final presentation and filming of our design, we could apply these adjustments.

The following changes were made:1. Elastic arm bands were sewn on to make the design more comfortable and move easier with the body.2. More Tyvek was added to the back to create more volume and become more ‘architectural’ rather than textile based.

3. The polyester was woven through the perspex shoulder brace to show more of it and to keep the fabric and brace more stable4. Cover ends of sails with tyvek to stop the wire from getting caught and from scratching the wear-er.

(Photos: Patterson 2013, Fabrication of model: Eyre 2013)

FINAL MODELThis is the completed model from

the front and back inopen and closed forms.

SECOND SKIN IN MOTION

(Photos taken by Patterson 2013, Edited by Eyre 2013)

(Photos taken by Patterson 2013, Edited by Eyre 2013)

(Photos taken by Patterson 2013, Edited by Eyre 2013)

(Photos taken by Patterson 2013, Edited by Eyre 2013)

(Photos taken by Patterson 2013, Edited by Eyre 2013)

(Photos taken by Patterson 2013, Edited by Eyre 2013)

(Photos taken by Patterson 2013, Edited by Eyre 2013)

(Photos taken by Patterson 2013, Edited by Eyre 2013)

REFLECTION

Throughout the design process, my ideas have changed and transformed in terms of both what I thought I would design and how I would do it. Initially, the process seemed straightforward. Measuring required much more thought and detail than I had expected, especially in regards to rep-resenting what had been measured. The readings on orthographic drawing (Ching 1990 & Yee 1997) helped my understand the different representa-tions possible and their characteristics. However, the kite was relatively easy to measure and repre-sent than any of my other designs. For this reason, measurements were not the main focus and they didn’t need to be.

123D catch meant that my partner and I could model our design accurately to my body without having to take measurements. This program and point cloud information takes digitization and making to another level. It seems Rifkin’s ideas of a “third industrial revolution” (2010) are not too far fetched, as we were able to create something so unique that it could even be tailored to my own body and printed over the Internet. Throughout the whole process of design, we were practicing what he talked about. We could gain inspiration from precedents and their examples of how to make something ‘inflatable’ or by using ‘section and profiling’ from the internet as well as tutorials on how to model our ideas and get the model. This made learning easily accessible yet it was limited to what had been posted/made available. The most helpful tool was support from workshops and tutorials as well as learning from other people so while a technological age may be promising in terms of access to knowledge, I learned that skills applicable to a specific task are best gained from people who have done similar things and through doing my own trial and error.

Prototyping for me was the most effective way of

developing the design. When designing, I was con-stantly thinking whether the model would actually work in real life because I often had the feeling it wouldn’t. This was because my ideas had to be stretched to incorporate both inflation and section and profiling. I think if we had worked harder really developing the ideas more and not just focusing on something that could work, we may have found a more creative compromise that could have been simpler to make. However, in the end the de-sign was quite creative but difficult. It didn’t inflate in a normal sense, rather it caught air and moved it which is what changed its shape along with move-ment of the body.

Having a background in art and textiles, I am famil-iar with the design process; constantly making and remaking, finding inspiration and formulating new ideas or ways of approaching a task. However, this subject was an intensified version of this, as I had no knowledge of how to use Rhino or the process of laser printing. So in a small amount of time I learnt some very valuable skills, which will help, my in my future of designing and any other art project and will give me a new lens in how I approach creating new things.

Overall, this process was engaging and inspir-ing and pushed me in directions I wouldn’t have thought in order to create a design which was thoroughly researched and developed over many weeks.

BIBLIOGRAPHY

Rhino files, photos and images by Madeleine Eyre, Student 587528 & Allyson Patterson, Student 649269, 2013

MODULE 1 REFERENCESLoh, P. 2013, Lecture 1: Measuring Space, Mel-bourne.

Loh, P. 2013, Lecture 2: Material Systems, Mel-bourne.

Heath, A., Heath, D. & Jensen, A. 2000, “Function, Form, Technique, 1700-2000“ in 300 years of indus-trial design, ed. Adrian Heath, Ditte Heath, Aage Lund Jensen., Waton-Guptill, New York.

MODULE 1 PRECEDENTSAeolian Ride, 2013, Aeolin Ride. Available: http://www.aeolian-ride.info/photos_HK.html [24/10/13].

Roberts, C. 2010, The Safe Place. Available: http://www.charlie-roberts.org/Home.html [24/10/13].

MODULE 2 REFERENCESSchofield, W., Atley, G. & Gorter, K. 2013, , “It is the function of the artist to evoke the experience of surprised recognition: to show the viewer what he knows but does not know that he knows.” [Online]. Available: http://butdoesitfloat.com/It-is-the-func-tion-of-the-artist-to-evoke-the-experience-of-sur-prised [24/10/13].

Schofield, W., Atley, G. & Gorter, K., “The mysterious power of thought enables it to produce external, perceptible, phenomenal results by its own inher-ent energy”, [Online]. Available: http://butdoesit-float.com/The-mysterious-power-of-thought-en-ables-it-to-produce-external [24/10/13].

Heatherwick, T. 2010, , Seen Cathedral. Avail-

able: http://virtualsacredspace.blogspot.com.au/2010/09/thomas-heatherwicks-seed-cathe-dral-in.html [2013, 27/10].

MODULE 2 PRECEDENTSElms, F. 2013, Porcelain on Ebony. [Online] Avail-able: http://www.fenellaelms.com/ [2013, 26/10]

Mili, G. 1949, Picasso Painting with Light in a Long Exposure. [Online]. Available: http://butdoesitfloat.com/It-would-be-very-curious-to-record-by-means-of-photographs-not-the [2013, 26/10]

Wenzel, I. 2010, Table_1_A_201[Online]. Available: http://www.isabelle-wenzel.com/ [2013, 26/10]

MODULE 3 PRECEDENTSEyre, M. 2013, 26/10-last update, Inflatable Art [Homepage of Pinterest], [Online]. Available: http://www.pinterest.com/madeleineeyre/inflat-able-art/ [2013, 26/10].

Patterson, A. 2013, 29/09-last update, Sizzling Section | Infamous Inflatables, [Online]. Available: http://www.pinterest.com/alpats/sizzling-sec-tions-infamous-inflatables/ [2013, 26/10].

Kelemen, D. 2010, 18/08-last update, Angel, [Online]. Available: http://strictlypaper.com/blog/2010/08/dora-kelemen-angel/ [2013, 26/10].

Scaduto, O. 2011, Nautilus Shell, [Online]. Avail-able: http://commons.wikimedia.org/wiki/File:Nau-tilus_Shell.jpg [2013, 27/10].

Elms, G. 2012, , Sulphur Crested Cockatoo, [Online]. Available: http://artblart.com/tag/gregory-el-ms-sulphur-crested-cockatoo/ [2013, 27/10].

Heatherwick, T. 2010, , Seen Cathedral. Avail-able: http://virtualsacredspace.blogspot.com.au/2010/09/thomas-heatherwicks-seed-cathe-

dral-in.html [2013, 27/10].

Kasuba, A. 1972, , Cucoon Dwelling. Available: http://mondo-blogo.blogspot.com.au/2010/11/dirty-stoned-hippie-architects-from.html27/10].

MODULE 3 PRECEDENTSFortuny, G. 1920, , Delphos. Available: http://collec-tions.vam.ac.uk/item/O362552/delphos-dress-mari-ano-fortuny/ [2013, 27/10].

Fortuny, G. 1910, , Delphos Gown. Available: http://www.skinnerinc.com/news/blog/mariano-fortuny-delphos-gown-clothing-as-art-form/ [2013, 27/10].

Miyake, I. 2013, , Pleats Please. Available: http://eeamdworaczyk.wordpress.com/category/decon-struction-fashion/ [2013, 27/10].

Isogawa, A. 2012, , Resort. Available: http://www.akira.com.au/collections/item/533/9581/18 [2013, 27/10].

Duchamp 1912, , Nude Descending a Staircase No. 2. Available: http://www.invisiblebooks.com/Duchamp.htm [2013, 27/10].Recht, S. 2013, , SR303 . Available: http://opticalvi-sionresources.com/fashion-designer-sruli-recht-lim-ited-edition-eyeshades-for-the-blind#.UmyrySuzszI [2013, 28/10].

Museum of the Weird 2012, , Plasma Ball. Avail-able: http://www.museumoftheweird.com/news/wp-content/uploads/2012/05/plasma+ball.jpg [2013, 28/10].

Paquin, J. 1920, . Available: http://anamiblog.com/2013/03/01/fashion-story-1910-1920/ [2013, 28/10].

Hagino, Y. 2013, , Sculpting Mind. Available: http://www.yukihagino.com/#!collection/c1n0f [2013, 28/10].

BIBLIOGRAPHY

Kristie, F. & May, H. 2009, , Second Skin . Available: http://www.pinterest.com/pin/498140408754870415/ [2013, 28/10].

MODULE 4 REFERENCESCharny, D. 2012, “Thinking through making” in The Power of Making.

Elmslie, C. 2012, , Clothing as Art Form: The Fashions of Mariano Fortuny, Skinner, [Online]. Available: http://www.skinnerinc.com/news/blog/mariano-fortuny-delphos-gown-clothing-as-art-form/ [2013, 27/10].

Malafouris, L. 2013, Mind into matter: Where we end and the world begins, 2933rd edn, New Scien-tist.

Recht, S. 2013, , SR303 . Available: http://opticalvi-sionresources.com/fashion-designer-sruli-recht-lim-ited-edition-eyeshades-for-the-blind#.UmyrySuzszI [2013, 28/10].

Ching, F. 1990, “Basic Orthographic Methods” in Drawing - A Creative Process Van Nostrand Rein-old, , pp. 146-159.

Yee, R. 1997, “Conventional Orthographic Terminol-ogy“ in Architectural Drawing - A Visual Compendi-um of Types and Methods John Wiles & Sons, , pp. 41-63.

Rifkin, J. 2011, The Third Industrial Revolution Pal-grave Macmillan, , pp. 107-126.