M4_AdelaSaputra

Adela Risha Saputra 617260 Virtual Environments Semester I/2013 Group 6

__M1/IDEATION -

__PATTERN & ANALYTICAL DRAWING

RED CABBAGE Brassica Oleracea

By using Kandinsky’s analytical drawing technique: simplification (Poling, 1987), I connected the visible points seen on the cross section of the red cabbage. After analyzing the geometry, it turns out to be a Fibonacci spiral.

__M1/IDEATION -

__NATURAL PATTERN ANALYSIS

01

SPIRAL

02

LOOP

03

FOLDS

04

LAYERING

Throughout my lantern-making process, I always incorporate my natural pattern’s concept ideas to make the surfaces and panels. Most of them are identified from their physical geometry (concave surface) and the cabbage’s growth behaviour (loops, folds, layering, spiral, and scaling).

05

CONCAVE

06

SCALING

My first idea of spiraling comes from my analytical drawing, which is a Fibonacci spiral. The other five are based on my observation of the pattern’s behaviour.

__M1/IDEATION -

__PAPER AND PLASTICINE MODELS

FOLDS

01 PAPER MODEL FRONT ELEVATION

02 PAPER MODEL TOP ELEVATION

SUSPENDED

SPIRAL

04 MODEL SKETCH INTERFACE

03 PLASTICINE FRONT ELEVATION

1. Spiral 2. Suspension 3. Folds

The paper models followed directly the rule of my analytical drawing (Fibonacci spiral), with the concept ideas of extruding and scaling, just as suggested by Paul Loh’s lecture.

Next, the final plasticine model was heavily inspired by the spiral structure of Guggenheim Museum at New York; with integrating the ideas of suspension and folds from the paper model.

GUGGENHEIM MUSEUM - NEW YORK FRANK LLOYD WRIGHT

MODULE TWO

DESIGN

__M2/DESIGN-

__SURFACE DIGITIZATION

01

First digitization of the raw plasticine shape; separated into two different surfaces.

02

Attempts of creating a single surface but with the same surface complexity as the two surfaces.

SURFACE DEVELOPMENT

TIMELINE The key to my surface development is simplification. Due to the initial complexity of my plasticine model (mostly the curvature), it was hard to digitize the surface without separating them into two surfaces.

05

The idea of layering was incorporated to the surface to create a doublelayer effect.

Pattern concept idea:

CONCAVE

PRECEDENT STUDY REICHSTAG DOME BERLIN

+ EASIER TO PANEL No weird angled or squished surface that messed up the panelling. +MORE REALISTIC The end of the handle is reachable and also made the making process easier.

PRECEDENT STUDY KLEIN BOTTLE

03

04

Another attempt of simplifying the surfaces and creating a realistic measurement for the surfaces (recreating hand to fit to model).

More attempts of surface simplification and decided to go with a single spiral instead of multiple ones.

Pattern concept idea:

LOOP

06

Perfected form of the inner layer (red skin) and the outer layer (grey).

07 Pattern concept idea:

LAYERING

The final surface is a loop, inspired by the surface of klein bottle, which creates a practical way to combine the inner and outer layer of the surface.

__M2/DESIGN-

__PANELLING DEVELOPMENT

CUSTOM 2D PANEL INNER LAYER

FINAL DESIGN OUTER LAYER: X - 12 Y - 18 + More panels in order to highlight the curvature of the surface. + Not all panels have holes in their front faces: to create soft glows.

01

01

02 03

Default triangular

02

Default triangular with arranged offset points to create a spiral movement in the panels.

03

Outer layer: Custom 3D pattern with arranged points for overlapping panels effect.

CUSTOM 3D PANEL PYRAMID WITH FACES IN ALL SIDES

03

Inner layer: Custom 2D pattern with another layer at the end for the diffused lighting effect.

__M2/DESIGN-

__FINAL PANELS ADJUSTMENTS

PRECEDENT STUDY GOLDEN MOON - HK LEAD, 2012

The triangular overlapping panels I decided to take were inspired by this giant lantern (Golden Moon)

by LEAD, which was also a giant ball of triangular faces stacked on top of each row. Moreover, I wanted to create the same lighting effect as seen in Golden Moon. The soft glow shown on each faces create a gradient light effect.

UPPER PART

Previously the panels were sticking out where the surface was very curved.

SOLUTION: Manually adjust each tip so it will stick with the panels above.

BOTTOM PART

Previously the panels were sticking out awkwardly that some panels were overlapping each other; hard to fabricate.

SOLUTION: Manually adjust the panels of each row so it would not overlap the panels above; simplifying the panels.

MODULE THREE

FABRICATION

__M3/FABRICATION-

__UNROLLING & NESTING

UNROLLING MAIN SURFACE

UNROLLING HANDLE

UNROLLING The main surface had 20 unrolled pieces horizontally. Tabs were created by using the provided Grasshopper script.

The handle had 14 unrolled pieces horizontally.

__M3/FABRICATION-

__ORTHOGRAPHY EXPLODED ASSEMBLY GUIDE

Separate the model into two sections (top and bottom).

1

A

1

B

1

1

1 1

A

1 6

B A

joining parts of the same row. the order of row stacking.

B C

1 2

1 9

D

1 10 1 8

1 13

E

1 12a 1 11

1 3

1 15

F

G

1 4 H I 1 5

K 1 12 L

+

M 1 14

1 16

N

1 17

J O

1 7

1 18

1 19

__M3/FABRICATION-

__MODEL ASSEMBLY PROCESS 01

04.

Make the inner layer of the bottom part first in order to install the circuit inside easily.

02

04

03

03.

Half finished for the upper part, continuing to build the bottom part.

MODEL ASSEMBLY

TIMELINE

07

08

(Read from upper-left until rightbelow). For this model making process, I found paperclips extremely useful to hold the pieces together. Following the previous assembly guide, I made the bottom and the upper part separately.

Attatching the circuit after the bottom part has been completed

The switch was placed at the corner of the back side of lantern (just below the handle)

__M3/FABRICATION-

Make sure there are no tabs facing inside the inner layer to make the lights installation easier (reachable by hand).

__MODEL ASSEMBLY

06

05

+

-

09

-

SERIES CIRCUIT

+ +

-

LED lights were attached inside the bottom inner layer of the lantern.

The complete upper part is then glued together with the bottom part

10

+

-

+

-

__M3/FABRICATION-

__FIRST PROTOTYPE VS. FINAL

The failure of first prototype gave many insights in improving the final design: + The upper and bottom part stitches. + The black paper inner layer was changed to white ivory card. + Ideas on how to assembly the loop surface and installing lights inside it.

__M3/FABRICATION-

__FINAL MODEL: ELEVATIONS

01

Back elevation

02

Left elevation

03

Top elevation

04

Perspective view

__M3/FABRICATION-

__FINAL MODEL: LIGHTING EFFECTS PRECEDENT STUDY GOLDEN MOON - HK LEAD, 2012

PANELLING LIGHT EFFECT Soft glow emitting in each front closed triangular panel.

__M3/FABRICATION-

__LANTERN INTERFACE

LANTERN INTERFACE Held the lantern from the handle like a cup, and held the bottom part with the other hand.

__M4/REFLECTION-

__PROJECT ANALYSIS

MODULE FOUR

REFLECTION At the beginning of the subject, we were briefly introduced to the idea of making a lantern from a natural pattern.

It was really interesting discovering many perspectives from which the pattern could be translated into many simple drawings.

I tried incorporating Kandinsky’s technique of analytical drawing (Poling 1987), because Kandinsky’s try was more open, where I could explore various geometrical shapes and position of my found pattern.

Module two for me was the most challenging part of all. If I go back to where I started from the plasticine model, to the surface that I have now, it is completely different and without this presentation, I doubt anyone would guess both are related. What I made in practice turned out

Paul Loh (2013) gave a profound lecture about “The Power of Making”, and it made me realize that imagining and drawing are only a small part of a long process of making something. What I imagined is more often impossible to be made in reality. That is when digital tools come to help us designers achieve our dreams easier.

‘

DIGITAL TOOLS HELP DESIGNERS

ACHIEVE THEIR DREAMS EASIER

‘

As mentioned by Rifkin (2011), the digital world give powers to designers and craftsmen to make their imagination a reality, whether it is the software and machines for fabrication or promoting their art via Internet.

I realized when trying to interpret my model into Rhino, I encountered many problems which were often technical or lack of creativity, and even both, which occurred if I had an idea but turned out impossible to be made digitally.

As you can see from my above presentation, I had to recreate my surface so many times, editing them to fit the practicality of making, the pattern concepts, and my own criteria of satisfaction. Nevertheless, with the help of my tutors, I succeeded in achieving the most intriguing surface that are both related to my pattern and satisfy my ideation.

Last, module three was for me the most fun process yet most time consuming of all. Even though I only made two lanterns, with one as my prototype, I realized immediately the importance of trial and error in a making process. My first prototype was clearly a mess, which was an essential step in discovering all the faults and beauty of my lantern.

I always see my lantern with flaws, no matter how many times I rebuild it.

However, even though I realize it is not perfect, I still love my lantern simply because it is the fruit of my own imagination. Therefore, it gives me so much joy to see other people appreciate my work as much as I love making it.

‘IMPERFECTION IS PERFECT ‘ Virtual Environments as a subject has given me much more than learning knowledge. It gives me personal experiences that I think is had given me a glimpse or preview of what I will be experiencing in my future career as a designer.

Moreover, my ability to learn Rhino for only two weeks because of pressure had surprised me the most. Even though I was familiar with digital design interface, I learnt them for years, but for Rhino, it amazed me how everyone including myself are able to operate the software so well in just a few weeks time. This shows how I am actually able to learn fast if I wanted to (in this case I was chased by deadlines).

Furthermore, despite the long hours of working, stressful nights before the deadline, struggling for inspirations and ideas and the sleepless nights, I realized that I actually love doing it. No matter what people said, I see those stressful experiences as my way of learning and improving myself as a designer.

One of the most memorable things I learnt in virtual environments is that imperfection is perfect. Before this, I tend to symmetrize geometries instead of exploring the impossible in terms of designing, which I think comes from my previous learning method from high school that heavily depend on logical thinking and memorizing.

However, taking that attitude to virtual environments had caused me many difficulties along the process, especially when creating my lantern surface. My tutor, Samson, told me that imperfection is what make things interesting and not boring, and that I have to be more open with exploring my imagination. I took that advice and I really like thinking differently and being appreciated because of it.

In the end, virtual environments had helped me realizing my own potential and also improving myself to become a better person and a better designer.

BIBLIOGRAPHY http://en.wikipedia.org/wiki/Red_cabbage LEAD (2012), GOLDEN MOON, viewed April 16 2013, http://www.l-e-a-d.pro/projects/golden-moon/2664.

Paul Loh (2013) Week 6 Making: Power of Making, Melbourne: University of Melbourne.

Poling, Clark (1987) Analytical Drawing In Kandisky’s Teaching at the Bauhaus Rizzoli, New York, pp. 107-122 Thomas Heatherwick - Building the Seed Cathedral (2011), TED Talk, http://www.ted.com/talks/thomas_heatherwick.html Tooling / Aranda, Lasch. New York : Princeton Architectural Press, 2006