MICHELLE XUStudent No. 635683

Semester 2/2013

INFLATABLE SYSTEMS

MODULE 1: IDEATION

M1/IDEATION THE INFLATABLE SYSTEM

In the beginning, the inflatable system was introduced (with the example of the floatie), marking the starting point of the project that was to follow. The inflatable system can be both open and closed.

I began by looking at a floatie with two opening valves for inflation. There were two compartments that were inflated separately, and the system itself was a closed system.

I think there was the importance of believing that rather than being a strange and unapproachable material system, the inflatable system would be something unique that opened doors to opportunities and creativity.

Analytical sketches – cross sections

M1/IDEATION THE INFLATABLE SYSTEM

The floatie has a simple system of a sealed skin which holds volume, and air which acts as the volume itself. This system has the flexibility of taking up different shapes and sizes, and being inflated or deflated to create effect.

Air blown in

Air spreads out inside

After use, mouth pieces are inverted. Two mouth pieces present for two chambers.

Diagrams A and C show cross sections of the floatie with the mouth pieces, whilst diagrams B and D do not cut through them. These diagrams were with reference to “How to lay out a croissant (Miralles & Pinos, 1988/1991).

Notion of feeling protection, physical protection & personal space

M1/IDEATION DESIGN IDEAS

In the “Personal Spaces” (Sommer, 1969) reading, there was an interesting quote that said “the best way to learn the location of invisible boundaries is to keep walking until somebody complains” (pg 26).

From that quote especially, I started to look at the idea of having a second skin that could measure out the amount of space and the amount of people around at the same time and have a way to restrict ones own breathing space. Personal space and the notion of having a second skin for protection can come in two forms; physical and emotional. These two ideas could be merged, creating a visual representation of something that is usually invisible to the naked eye.

I decided to look at my own personal space and the vulnerabilities I felt without sight. I explored how behind me felt the most vulnerable because I didn't always have that line of sight for reassurance.

Above: Feeling most vulnerable at the back.

M1/IDEATION DESIGN IDEAS

Something unique to myself is that when my ears are covered, I feel as though my personal space has returned, wherever I am. In large crowded areas such as on trains, many people are in their own world through the use of ear phones or headphones. By blocking out all other sounds with your own choices, it feels like you have your own breathing space and puts you at ease.

Though not an inflatable system, the example of foot thongs (below) used in dance show protection at a physical level. It is something small, but very good at protecting sensitive parts of the body and in this case, the balls of our feet. Inflatable systems when deflated are also quite small, but when inflated can be very dramatic. I decided that these two components coming together could potentially create something more.

Above: a layer of air to feel assurance of personal space, just like Joey in FRIENDS (date unknown). However, this idea may be limited to just a helmet like structure for a second skin.

Right: foot thongs acting as a second skin of protection – Dance Direct, date unknown.

Puffer fish idea

M1/IDEATION DESIGN IDEAS

This idea of having some sort of second skin that allows for inflation when commanded and retracted when not needed came from the idea of a puffer fish. This allows the individual to control how much personal space they have or need at certain times, just like the puffer fish.

Puffer fish “before” & “after” inflation – National Geographic, date unknown.

Above: Retracted spikes

MODULE 2: DESIGN

...because three heads are better than one.

M2/DESIGN PERSONAL SPACE/BRIEF

Through the collaboration between Afifah, Isaac and I, we decided to look at personal space and the changes that occur. We put our emphasis on two specific areas; the people we were around, and the environment that we were in.

Culturally, we came from large families and through these influences, we realised that with these large groups of people, there was a feeling of comfort and environment that we found and adapted to at an early age.

Additionally, we explored the feelings of comfort and having our own space in situations such as crowded trains where individuals around us aren't so familiar.

Through our exploration, we set our focus on personal space of individuals during the event of a first date, particularly for a female (see left). We focused on the bust, neck and pelvic areas as physical aspects deemed “off limits” on a first date.

We also wanted to represent the unseen emotions and thoughts (such as excitement, nervousness, questions and doubts) that would be running through our heads, and chose to physically represent that through the back of our head, as these emotions have immediate control over our notion of where personal space is.

Personal space on a first date- Isaac Mercado, 2013

Objective:To create an inflatable system that represents a female's changing views and emotions on a first date.

Elements:- whole system is inflatable- semi open system- certain elements to have aspects of movability- to have feminine qualities- fashionable- address the diagram (right) of personal space

Brief

Every rose has thorns.

M2/DESIGN PRECEDENCE STUDY

2. Feeling threatened.

1. Normal conditions, feeling safe

The first precedence that we drew on was the puffer fish and how it was a dynamic inflatable system, despite being closed. We too wanted a system that could have an element of control into inflation and deflation.

We also took the idea of spikes that came from the puffer fish to act as a second skin that would draw a barrier between a person's changing personal space. These would protrude with inflation, as a puffer fish shows when feeling threatened or insecure about their surroundings. On a first date, there may be times such as in the beginning where more vulnerability is felt, and this idea lead to our development.

We also looked at a rose as a precedence, and how it was a typical gift received on a first date. Our idea of rose petals as the predominate design came from this precedent, but it was only drawn on further into our development. The petal shape was chosen to represent the bringing out of the best and most beautiful side of a girl.

However, what is usually left out of the icon of the rose, is how there are dangerous thorns that are found all along the stem, before you get to the flower itself. The thorns can be seen as a similar defence mechanism to the puffer fish (being a layer of protection from vulnerability and being unsure).

The other inspiration from the rose was the physical form of the rose. The flower is located at the very top of the stem, and in order to get there, we must climb up the thorns carefully and with time. In order to open up to someone, we have to get to know the them first. As we climb up towards the beautiful flower, our personal space is reduced as we become more comfortable in the situation we are in.

Right: Rose & Thorns – Amritham Viveka, date unknown.

M2/DESIGN PRECEDENCE STUDY

We drew on the MUSII MO (Musii Designs, 2010) for an element of movement in our second skin. MUSII MO's three inflatable arms change colour and sound with the shortening of the arms, which was an idea we took in. We wanted to create a second skin that could have different sizes of petals that would result in inflation at different times and rates due to their size. This would give an image of movement.

In the “Surfaces that can be built from paper” (Pottmann, H et al 2007) reading, we were introduced to thinking mathematically and using basic geometrical shapes co

create a more dynamic product. The concept of symmetry was an idea that we drew on, especially in terms of lining up seams properly to ensure that the inflatable device

would be able to be sealed properly. Additionally, working with rounded shapes would be desired to create a softer look.

As a group, we took the consideration of having every piece of the design to have their own purpose and not being there just for the sake of it. This idea came from the

“Lost in Parameter Space?” reading ( Scheurer, F& Stehling, H, 2011)

Symmetry – Isaac Mercado, 2013

M2/DESIGN PRELIMINARY IDEAS

First date – Afifah Ahmed Shamsudin, 2013

Personal Space head piece – Isaac Mercado, 2013

We began with two preliminary ideas. The first one (left) was based on Afifah's idea of a first date and the regions that were “off limits” to approach on a first date, particularly for a girl. The circular tubes, connected by a spine would represent the inflatable skin that would surround these areas as protection. This idea was collaborated with my idea of spikes that would appear (from the puffer fish inspiration). Petal-like shapes at the collar would act as a feminine quality, linking roses as something received on a first date.

The second preliminary idea was Isaac's head piece with various arms, representing the different emotions one has on the idea of personal space, as well as extra “arms” to feel what is around us in the blind spots behind ourselves.

M2/DESIGN FURTHER DEVELOPMENT

We merged our two preliminary ideas into one idea of a second skin. There were two developments that we made from that point on (Above row one & row 2) to represent the feeling of a first date at a full body scale. The spikes and tube would represent the physical boundaries of personal space, whilst the head piece would represent the different emotions and unseen thoughts occurring during this context.

By creating larger spikes, we wanted to emphasise the feeling of being threatened, and so when inflated, the second skin would send a much clearer image of “stay away” when personal space was breached.

During the tutorials, we explored volume, the inflatable system and movement. We looked at volume and how inflating and deflating could create different images of our personal space.

With inflatable systems, we realised that seams and material were equally important. Seams must be fully sealed for the system to work. Different shapes could also be made, but more care would be needed.

Depending on material thickness, movement wand inflation effects would be different. We looked at the concept of movement and experimented with creations of the uneven arms of the headpiece.

M2/DESIGN FURTHER DEVELOPMENT

Through feedback, it seemed as though our second skin idea was very disjointed, with a spiky tube like component, and a head piece. We decided to create more connection between the top and bottom halves of our second skin by changing the spikes to petals, and alternating our head piece to a collar like piece, also in the shape of petals. This made our second skin more fluid from top to bottom.

Our idea and shapes being conventional and ordinary was also raised. In our prototype, we had petals of three different sizes (20cm, 30cm & 40cm respectively) but their differences weren't noticed. We decided to create larger and more exaggerated sizes for our final fabrication, with three main sizes of 45cm, 60cm & 70cm respectively, as well as smaller petals (10cm, 20cm) for effect of different inflations.

Further Development – Afifah Ahmed Shamsudin, 2013

M2/DESIGN PROTOTYPING

One component made - Deflated

One component made - Inflated

MODULE 3: FABRICATION

M3/FABRICATION REFINING IDEAS

After making the skirt with the petals, we saw the potential for us to further explore and expand on this idea. We were intrigued by how such simple shapes could have such big effects, and the huge differences between the deflated stage and inflated stage, and the process in between. In order to deal with the issues of our initial design, we decided to revisit our idea of personal space and the diagram that we had (slide 9), which allowed for a deeper connection between our second skin and our defined personal space.

With that diagram, we decided to have one tube (one inflation point) that would link all the petals together on the whole body. The tube would curl around the body, whilst the petals of different sizes would map out the protrusions on our personal space diagram.

One tube to curl around the body to inflate all petals (at different times based on how far along the tube the petals are.

Different sized petals to emphasise the places of more vulnerability on the body.

Red sash to help hold up the inflatable skin.

Refining second skin – Isaac Mercado, 2013

M3/FABRICATION REFINING IDEAS

There were a few things that were unintentional discoveries during the process of prototyping our model.

We saw the potential to add colour in our design to create a more vibrant image of our second skin working in context. Though the pink material we used during the prototyping was only due to the lack of white material, it had a positive result. We decided to have all of one colour on one side of the second skin, and a different colour on the underside to highlight the effects of an inflatable system. We chose a neutral white colour for the top side of the petals. When deflated, this would show a colour that would be easily approachable. However, we decided on a more vibrant red colour for the underside of the petals, which would be seen once the second skin was fully inflated. This colour would warn others to stay away and send a message of “beware”.

We hoped to create a system that would be fully inflated at the start of a “first date”, where the red would be fully shown to warn of each others' personal space. As the night goes on and the individuals become more familiar and comfortable with the person they are with, the red would slowly disappear with the gradual deflation of the second skin. By the end of the date, only the white would be seen.

Refined second skin – Afifah Ahmed Shamsudin, 2013

Top side view Left side view Right side view Back side view Back view Top view

M3/FABRICATION FURTHER PROTOTYPING

Due to petals being our main component of our design, we explored the different shapes that could be taken. The petals have an importance in conveying our message of personal space with their different shapes and sizes. We explored pointy shaped and round shaped petals.

We wanted to test out how these different shapes would look once inflated because ultimately, once inflated, the petals would be creating and carrying our intentions from the brief. We found that different shapes would inflate at different times, with some being able to withstand inflations for longer.

We settled with the curved petal shapes, because we felt that not only did it resemble the shape of a petal the best (with more elegance to it) , it was also able to be translated into different lengths and larger sizes without looking out of shape.

The shapes explored were:- Pointed- Slightly pointed, a little curved- Completely curved petal- Completely curved (longer)

M3/FABRICATION FABRICATION PROCESS

(Directly above: A stronger tape (duct tape) was used after the week 10 evaluations to ensure that all petals were sealed properly with strength. All sealing was redone.)

Assembly Drawing of petals connected to the tube

M3/FABRICATION FINAL PROPOSAL

Assembly Drawing – Afifah Ahmed Shamsudin, 2013

All petals are connected to the singular spiralling tube.

Our final second skin will- create a boundary around the sensitive areas around the female body

- the shapes we chose represent the rose, a sign of beauty and elegance

- The varying sized petals represent the different emotions and thoughts that are found in the mind

- there is a level of flexibility and being able to move whilst being in this inflatable skin

- There will be slight holes within the system to allow for the release of air as time goes on in a first date, and both individuals become more comfortable with each other.

M3/FABRICATION FINAL PROPOSAL

Final proposal model – Afifah Ahmed Shamsudin. 2013

Perspective view Bottom view

Left side view Right side view

The red side of the petals will all be facing down, whilst the white will be shown on the top side. Once inflated, the red side will be able to be seen.

M3/FABRICATION FINAL PROPOSAL

Above: Deflated. Below: Inflated.

Above: Our inflatable second skin in the context of a “first date”.

MODULE 4: REFLECTION

Imagining Risk

In the “Imagining Risk” reading (Marble, S 2008), it was said that “craft is defined as a skill developed over time and in direct relationship to making and to working with materials” (pg 39). This relationship is not only between humans and technology, but also between the process of our imagination connecting with our production.

The system of inflatables that we looked at was the basis of our project, and throughout the past 10 weeks we have created a new understanding and insight into how it works through making and experimenting with the system. In our second skin process of design and making, there were lots of risks associated with our work. From only having a basic understanding of inflatable systems as a skin that holds air, we have gone through a log and built up our understanding of our material system of plastic sheets and the different qualities that come with different adhesives, the way it can be manipulated through tape and burning it, and creating different volumes and sizes of our prototypes. The thickness of material also was a learning curve.

The reading talks the reading talks about computer technology as a tool used to show a visual representation, along with drawings, models and how they are abstract representations in creating buildings. We also followed this path of using technology, and because computer technology was not able to show and represent the qualities of inflation and deflation and volume properly, we found we had to be more hands on and create our own shapes and carry out a series of tests. Using resources such as the Fablab was not very relevant to us. Even up to our final prototype, there was design risk in how we changed our design slightly. We found that because of these little changes we had to encounter, how we once could inflate our system through one opening was no longer possible, and created a hurdle we had to clear. At the very end of our journey, we had to create a system with not just one opening, but two openings to inflate our system, and we had to recreate the seams for a stronger hold.

The reading also refers to the industrial revolution as something that has displaced human physical labour. We are now relying more heavily on machines, rather than creating it ourselves physically to see the effects through such revolutions of CNC systems, which create uniformity and precision, leading to control .Contrary to the reading, it was easier to refine details manually by hand for us, rather than use computer programs, which we found was limiting.

M4/REFLECTION

M4/REFLECTION

A journey coming to an end

In “the third Industrial Revolution” (Rifkin, J & Macmillan, P, 2011), the focus was on the future and digital design and making. Throughout the last 10 weeks, digital technology has changed my view vastly on design, making and the context of the built environment. Being someone who prefers the “old-school” hand drawing and making, I was a little overwhelmed at the use of technology.

In the reading, technology is referred to as a new era that will change the way we see the world. Digital making will become a sort of centralisation where it is accessible worldwide, making it easier and more effective. There is an emphasis on the internet and soft networking becoming the norm, allowing for more even distribution around the world. Throughout this journey, I have been exposed to lots of new programs in digital technology such as Rhino, inDesign and Issuu. It has opened my eyes up to how my surrounding environment, design and making processes are filled with influences from these technologies. I used to rely on physically creating my ideas to see it visually, but now with programs such as Rhino, these tasks can be easily done, altered and manipulated with less labour and time, and more accurate and concise results.

However, I have learnt that we must not only rely on digital technology to see what the end product will be like because some things are found through hands on activities (whether it be intentional or accidental discoveries). By working along with physical prototypes, the two types of design can be interconnected to be a more powerful resource in seeing the end product in context and in action.

Throughout this semester, I have embarked on a new and exciting journey. From start to end, the lectures focused on having four distinct areas of ideation, design, fabrication and reflection and how these four areas were separated, but at the same time very much connected to each other. I found that the process of beginning with ideas and advancing on to create prototypes was strengthened through stepping back and going back to the previous components and reflecting on our design process. The most memorable lecture that allowed me to see things in a different perspective was when lecturer Paul Loh showed us a video of an inflatable house being inflated, but being filmed on the inside. That gave me the greatest insight into seeing things from different perspectives and trying things that may not come to mind straight away. In addition to that, the fact that the system I chose was the inflatable system made it more easily related to as well.

It was a pleasant yet sometimes frustrating learning experience, due to encountering problems that seemed unsolvable. However, with teamwork and constant feedback, it felt great to be able to overcome these issues one by one.

CREDITS

READINGSMarble, S 2008 ‘Imagining Risk’ In P Bernstein, P Deamer (eds). Building the Future: Recasting Labor in

Architecture/, Princeton Architectural Press, New York, pp 38-42Miralles, E, Pinos, C “How to lay out a croissant” El Croquis, 49/50, pp. 240-241

Pottmann, H, Asperl, A, Hofer, M, A.Kilian (eds) 2007 “Surfaces that can be built from paper” in Architectural Geometry, Bentley Institute Press, pp 534-561

Rifkin, J 2011 “Distributed Capitalism’ in The third Industrial Revolution Palgrave Macmillan, New York pp107-126Scheurer, F, Stehling, H 2011, “Lost in Parameter Space?” AD: Architectural Design, vol 81 pp. 70-79

Sommer, R 1969, ‘ Spatial invasion’ in Sommer, R, Personal space : the behavioral basis of design, Prentice-Hall, Englewood Cliffs, N.J, pp. 26-38

IMAGES

Joey image:http://www.fanpop.com/clubs/matt-le-blanc/images/31144473/title/bubblewrap-photo Viewed 23 July, 2013

Foot thongs image:http://www.dancedirect.com/uk/Category/Footwear/Foot-Thongs-Misc/?&fb=1229,1446 Viewed 23 July, 2013

Puffer fish images:http://animals.nationalgeographic.com/animals/fish/pufferfish/ Viewed 23 July, 2013

Rose image:http://amritham99.wordpress.com/2011/10/28/roses-and-thorns/ Viewed 15 Oct, 2013

MUSII MO image:http://musii.co.uk/ Viewed 15 Oct, 2013

Module 2, 3Rhino images: Afifah Ahmed Shamsudin, 2013

Hand sketches: Isaac Mercado, 2013Model & Prototyping images: Michelle Xu, 2013