Skin Graph aims are to “build the invisible” through the use of cinematography techniques; to address the engineered neutrality of optimisation by questioning the practice of tailoring and propose operative strategies that can inscribe the personality of the individual directly into the garment. We articulate our bodies through both space + time, this movement is fundamental to the nature of the garment.

Posture = Personality a presence extending beyond the depth of our immediate skin.
Skin Graph allows the individual to take control and authorship in creating their own bespoke pattern, through their desired body movement and articulation. Like skin the essence of time is recorded, a second skin is generated as a representation of one’s self. Both the physical and the emotional factors of their personality are inscribed into material; the second skin can displace and resonate a mapping of memory and potentiality.
Skin Graph offers a creative platform for which individuals can upload scanned digital entity representations through a motion capture/ 3D scanning process. The 3D topographical data can be tracked analysed and manipulated through generative and evolutionary design technique; such as Parametric Modelling, in the pursuit of systemic design applications that are scenarios and time-based through the physical performance of the individual.
Each individual will produce 3D diagrams which contain spatial material and behavioural understanding. These will begin to develop envelopes that address, employ rationale through the data acquisition process and the study of material intelligence. To develop design systems combined with intuitive modelling processes, by utilising interface and responsive technologies to capture data, from the physical world to manipulate the digital world. This will be projected back onto the individual for feedback in real time installations. These virtual envelope/garments will be further tested within the real world following parameters set by the initial design concepts. Basic testing variables will be utilised to allow for archived benchmarks to be formulated consequently giving each product a measurable success rate. Finalised iterations will be further developed and fabricated.
Not only will an envelope/garment be manufactured but also an intelligent design tool that has been tailored specifically for the individual, through fusing both the physical and the digital.

The role of data and information uses real world data to inform designs systems. How can data be harnessed, captured or live and how can it be interface with the design environment?

 Skin Graph aims to capture the individuals’ posture and gestural nature and therefore harness the qualitative data directly into the design environment. As this qualitative data seems to be the “invisible” in any computational design system that is reduced to calculus, yet is fundamental to the design process.
Through the use of accessible technology such as mobile phones, webcams and laser sights to develop ways of live mapping and data mining the movement of the body through real world space so as to develop modalities for Access and Interface.
Real time diagnostics of this data to be translated into a spatial-temporal contextual framework, through the use of cinematography techniques such as motion capture/ 3D scanning process.
This would be harnessed for the simultaneous construction of a 3D data set of varying degrees of precision/indeterminacy of the data and, through the roles of calculation and feedback, its literal, determinate fabrication. The gap between these two, the virtual data set and the physical, constitutes the new artifice.
Skin graph encourages the use of multidiscipline systems. Organisational decision making can be formulated and prescribed with set acceptable variables of which can dictate the accessing of functional analysis and spatial layout. However, structured CAD environments are problematic for creative designing.
The use of systems has evolved from merely representational tools to a design system itself. Architecture and engineering employ forms from other disciplines, retrieving, adapting, and including them in designs in whole or in part. Cross platform and design field integration has allowed the designer to use systems which are developing at a greater rate than the design rationale itself. Therefore the user is not prescribed the rigidity of the software itself but can piece together logics from several computational tools to develop the design. The Process involves the generation of new ideas or concepts, or new associations between existing ideas or concepts. 

The role of calculation Draw on the intertwining of design and analysis to translate and process information. How can data become meaningful for design?

The system operates within 3D space of volume, depth, location, vector and speed. Its calculation process is driven by general principles procedures of intervention and modes of translating quantitive statements into qualitative attribute formulations and vice versa.  Attributes constantly need to adjust according to unexpected values found during its process. The logic must allow for deviation having a margin of tolerance. Skin Graph will aim to consider the implicit and explicit temporal relations amongst all features of the data sequences. To allow for the determinacy and indeterminacy produced in any process of data semantics. To portray the concept of transition process or motion and offer multiple spatial-temporal representation. To develop systems of which are not autonomous and not complete and have the potential for learning?
The system therefore cannot be complete nor have a single order institutionalizing its limitations. The concept of archive is therefore insufficient however complex and dense the data sets. To define a system such as the achieve (specific in its formation) is “therefore to characterise a discourse or a group of statements by the regularity of a practice”. [2]. the acquisition of a data that exists outside this formation forces the formation to mutate. A mapping system would need to adapt according to its condition, in effect negotiation between its input and its own determinate limitations, redefining what is critical within the design process. Within this mapping any data has the potential to exist in a multiple time structure allowing for continued subjective contest and constant redefinition of the data from the stand point of the user.

The role of the feedback developed system that can take time into account, incorporating intelligent feedback mechanisms and learning. How do we integrate the idea of life cycles and long-term adoptions into our design systems and how do these generate new information?

 The systems potential influences the creativity of the user and a symbiosis between user and system unfolds through the process of feedback, reaction, and revaluation. For a system to generate true creative design the system must suffer from dissatisfaction; a constant need to relate its status with other possible states.
This questions the set problem, its result, its process, its reasoning, and then adapts accordingly. The creativity of a system is assessed on the basis of a number of “creative” results it produces. “Co-incidence and luck can never be ruled out as explanations for apparent creativity of a system; any system can, at least in principle, appear to be creative in a single case, but repeated creativity is harder to achieve” [3].
A system’s result is “creative, in the opinion of an assessor, if the assessor recognises the result as being new, unexpected, and valuable.” [3] However, what does creativity entail, and what sorts of activities are defined as creative. The distinction between assessor and system rises issues regarding how informed the assessor is with respect to the system and vice versa. A system may be biased i.e. by knowing it will be assessed and by whom, may produce different results than when it would not know its assessor in advance. This gives the ability for users to adapt and tailor their systems around their personalised posture/gesture.

Skin Graph aims to create experiential interaction through physical prototypes and interactive visualisation. How can intelligent behavioural systems, learning networks and passive responding material systems become tangible?

 The assessor has overview and can therefore construct the connections to create new nodal constraints for each set problem and iteration of process. If the value for that node is not a requirement then that branch of the network is non functional. The system can introduce new search space dimensions. It is continually redefining the archive of information and the variables of the system with the emergence of new data. The user is the assessor and is the key to the system. The ability for the assessor to define what is required from the information and what is obsolete. “A learning system is a system that is able to acquire new knowledge and to ‘forget’ obsolete knowledge.” [3]. the recording of this gesture re-evaluates and refines the framework of the system. Thus the narrative of the decision-making process is inscribed into the intelligence of the system.
The gap between the real physical choreography and the virtual will manifest itself as projections directly onto the body form in space as a live interactive installation. This will be continually be used as a tool for refining and adapting by providing real-time feedback for the user. As the assessor and system reach a point of symbiosis the final iterative design will be fabricated. Not only will an envelope/ garment be manufactured but also an intelligent design tool that has been tailored specifically for the user, fusing both the physical and the digital.