Fabrication - Student Journals Sem1 2012 by annie walsh

MODULE 3: FABRICATION STUDENT JOURNALS SEMESTER 1, 2012 VIRTUAL ENVIRONMENTS

Faculty of Architecture, Building & Planning. University of Melbourne

A SELECTION OF MODULE THREE STUDENT JOURNALS PRODUCED BY STUDENTS ENROLLED IN VIRTUAL ENVIRONMENTS SEMESTER 1, 2012 STUDENTS WILL USE COMPUTER SOFTWARE TO UNFOLD THEIR MODEL INTO A CUTTING TEMPLATE.. THEY WILL MAKE A SELF-SUPPORTING PAPER MODEL FROM THE TEMPLATE. THE VIRTUAL ENVIRONMENTS COURSE FOCUSES ON DIGITAL DESIGN METHODS AND DESIGN COMMUNICATION AND IS A CONSTITUENT COURSE OF THE BACHELOR OF ENVIRONMENTS AT THE UNIVERSITY OF MELBOURNE

Module Three

Yi Ying CHEN Student NO: 397888 Semester 1/2012 Group 12

Reflection The natural process I study is whale jumping. The basic shape of my model comes from the overlap of curves of whale shape at different moments during the jumping process. And through Module One and Module Two, the 2D pattern is found from the distribution of splashes that made by whale .

Then I tried to turn the 2D Pattern into 3D Pattern by using fin edges tool in Module. And the outcome is so complex as showed that would take long time to build the physical model. When I unroll the model with the original patterns, it comes out thousands of pieces aces. It seems like impossible to complete it in such a short time. So I tried to simplify the patterns.

Precedent Then I got the inspiration from the book named Folding Techniques For Designers From Sheet To Form (Jackson 2011). The author introduce a method to turn a single 2D paper into a 3D pattern only by folding. This can reduce the number of independent surfaces to form a 3D pattern. And this is what I need to do to solve my model making problem problem. Hence Hence, I adapted my patterns to fit this making method, but also keep the ideas of whale shape curves and water bubbles distribution.

(Jackson 2011)

Develop The Patterns The original patterns are designed to be connected by separated ring surfaces. To develop them, I adopted the folding method mentioned before to lift up my 2D outer pattern into a pyramid, and leave sixangular holes on the top to let the light go through. In order to show the idea that size of water bubbles change depending on their space distribution. So I divides the outer surface into two parts to using two types of patterns. There are two holes on the top of each pyramid pattern in Part A representing smaller water bubble in higher place, while there is only one hole on each single pattern top in Part B representing bigger splashes in l l A lower place. As ffor th the iinner surface, I just use the folding method to show the curves of whale shape forming the basic surface of model by a whole p surface instead of independent surfaces to pieces together. And the different levels creases show the motion of whale jumping .Aslo ,there are the rectangular holes to let the light arrive the outer skin to create different light effect.

Top View of Pattern of Outer Skin Part A

Perspective View of Pattern of Outer Skin Part A

Original Outer Pattern

Top View of Pattern of Outer Skin Part B

Perspective View of Pattern of Outer Skin Part B

Original Inner Pattern

Top View of Pattern of Inner Skin

Perspective View of Pattern of Inner Skin

And the shape of holes is hexagon. This is because the water bubbles like diamond would reflect the sunlight to shine, which I would like to use in my lantern. I wanted my holes not only to show show the distribution rule of splashes, b t also but l achieve hi the th spark k effect as water bubble or even diamond. And the diamond always be cut as hexagon to reflect maximum g Therefore, I amount of light. tried to used the hexagon as the shape of holes on the top of patterns to deliver my idea.

So the final patterns are showed as figures. The h outer skin ki are di divided id d iinto two parts indentified by different types patterns. However, both of them combine with the same inner pattern.

Part A Pattern with inner Pattern

Inner Surface

Outer Surface Part B

Part B Pattern with inner Pattern

Outer Surface Part A

Precedent :Restaurant Georges g The restaurant Georges in Pompidou Centre is used the digital building representation during its design process. And the designers edit the design through the digitization. This gives me the idea to edit and prototype in digital way.

Fabrication of Prototype First of all, I choose a part of my digital model to prototype (as ) Then I unroll the outer and inner surface separately p y by y lefr). using seam and strip method. And the results are displayed as follows and coded by colors.

Unrolled Surfaces

In order to process the physical prototype. I added taps to the unrolled surfaces for connection with each other pieces. And I turned all the surfaces into curves and code the objects with text by using the tag tool in rhino. And followed the instructions to prepare the file for Fab Lab to print out the card card. The black line represents the cut line and the red one represent score line.

Eg. Strip 2 in file for Fab Lab

Unrolled Surfaces

File of Prototype for Fab Lab

1:1 : Full u Scale Sca e Prototype Using Fab Lab: Construction Picked up the pieces from the cards printed out by Fablab. And followed the score line to folding up or folding down into strips or pyramids.

Use glue to connect black strips as surfaces. And use the same way to make pyramids into strips. After that, connect the white pyramids strips to the inner black surface one by one.

Prototype With Light Effect The aim of this part is to look at the shadow, shading and transparency that the double-skin prototype create and find out the difference of prototype with cold light and warm light. And as the photos showed, the warm light create the a purple light effect, though I did not use the purple card or light to do prototype. The effect of warm light seems like much better than clod light.

Errors: Through Prototype, I found there are problems in the taps of both outer surface and inner surface. f At fi first, t I offset ff t the th border b d off pieces i as 2cm distance. But in the prototype, it shows that they are too big, especially in outer surface, which effects the elegance of model. On the one hand, because the big size of the p of the p pieces in outer surface,, hence,, taps when I tried to connect them to inner surface, it seems not fit to the connected space. Therefore, I cut the taps smaller. However, this causes the untidy border as I cut by hand. Also, there the space leave for connection did not cover by white outer surface, surface due to imprecise angle of the taps. It seems impossible to make all taps to connect each other seamlessly. On the other hand, the big taps also lead the damage of beauty in inner surface. The big taps interrupt the smooth surface in the reserve side of the inner surface, Therefore, I backed to rhino to turn the all taps smaller as width 1.2cm and cancel some unnecessary taps. And hided the taps when I connect the outer skin to the inner skin in final model making process.

Final model Process

Using the method as prototype , unroll first And then prepare the the surfaces first. file for Fablab to print as the instruction and correct the errors that I found in prototype.

Colour coding ,text referencing and unfolding outer surface Part A for assembly reference using seam and strip method.

Colour coding , text referencing unfolding outer surface Part A for assembly reference using seam and strip method.

File of Outer surface for Fab Lab (Ivory Card â&#x20AC;&#x201C;White)

File of Inner surface for Fab Lab (200gsm Black)

Final model construction

The card printed by Fablab for the final model has poorer quality than that for the prototype as the original card material had run out and Fablab changed another card to print. The new type of the card is thinner and easy to breakage. So it increases the hardness to process and reduce the strength of the model.

Light Effect

The final model achieve the light effect that I except. The inner black surface blocks the light and only leave the light to go through rectangular spaces. spaces Hence, Hence we can see the more light casts on the outer whit surface as rectangular shape shape. And the different types of holes on the outer surface also represent my idea of water bubble distribution. And the shining score lines on the outer surface also shows the effect as the diamond.

Technical Documentation: Colour Key & Number Reference The position of strips on the model can be identified two ways; by referencing their colour using the colour key below and diagram to the right i or by referencing f i theiri number using i the diagram i to the right. i

Construction: Master Guide Use the glue connect the pieces taps as the figure by Number and text referencing.

The lines represent p the connecting gp path.

Reflection As the reading Making Ideas (Macfarlane 2005) says that digital representation has lots of advantages than traditional one. It is much easier to modify the design. And all the details comes into data, which helps a lot during constructing process. So I also create digitization of model in Rhino. Rhino And correct the errors that showed in prototype. According to Lecture 8, the prototypes including the physical one and digital model do do a favor in model performance. By this way, we can avoid some errors in final model making, Therefore, I did both physical and digital prototypes , and found out some errors as well as correct them in final model process.

Physical prototype (Lecture 8 2012)

My Physical prototype

Making Ideas (Macfarlane 2005)

digital prototype (Lecture 8 2012)

module three

nicola leon leong student no: 586066 semester one/2012 group ďŹ ve.

pattern prototypes.

In module 2 I explored different ways in which I could use circles to create a pattern on the surface. Realising I wouldnâ&#x20AC;&#x2122;t be able to just use lofted interlocking circles as my surface, I decided to further explore patterns I could create by cutting out circles.

In this prototype I cut out a series of different circular patterns on the one sheet to see how the shapes would interact with each other. Cutting them all onto one sheet also allowed me to easily compare what I liked and didn’t. I really liked the open circles of varying sizes, the half open circles and the donut-like circles. I was rather pleased with the clarity and outcome of the shadows cast and hope that my ﬁnal lantern will cast such clean shadows. I didn’t really like the half moon circles and the joint bubble cut outs that can be seen in the top left hand corner of the sheet. I felt the half moon cut outs conﬂicted with the perfectly symmetric aesthetic of the other circles, and the bubblelike cut outs were too abstract, looking almost like blobs rather than the merging of circles.

ﬁnal rhino shape.

To create my desired box panelled surface with circular cut outs, I wasn’t able to create cut outs on the 3D form, and hence decided to draw my pattern onto the surface once ﬂattened and unrolled in Rhino.

unrolling in rhino.

Originally I had problems unrolling my surface as I had not triangulated my box panelled surface, and because of this certain parts would not unroll. In my ďŹ rst attempt I tired to unroll the form in vertical strips. I managed to unroll some strips in one piece, however many of the strips would not unroll, or only partially. In my second attempt to unroll, I unrolled one strip vertically and the rest horizontally. Again I was able to unroll a fair amount of the surface but not all of it.

Despite not being able to unroll the whole surface, I decided to test ways in which I could draw my pattern onto the flattened surfaces that I did have. To draw my pattern onto the surface I first tried “flow along surface”. Using this tool, I drew a pattern on a single rectangular surface and used the “flow along surface” command to print the pattern onto each panel individually. I had a few problems with this, as each panel wasn’t the same shape and hence the circles would be warped and stretched to fit each different sized panel. I also had difficulties getting the pattern to flow in the right direction, as sometimes the pattern would come out sideways or upside down.

Once I realized I had to “triangulate surfaces” this process was much easier, but this also meant I would have problems using “ﬂow along surface” to draw my patten upon the surface. Because the panels were triangulated, having circles on a square surface meant that they would get scored in half and would be warped when I came to building the actual model and the shadow would be a manipulated circle. Using “ﬂow along surface” on triangulated surfaces also meant that printing each circle in my pattern in the correct position on each square was too hit and miss and I wouldn’t be able to achieve my desired pattern.

Rather than drawing each circle onto the surface individually, and using “ﬂow along surface” I used a Grasshopper script to populate each strip with circles of the same size. Using Grasshopper I was able to use the “slide” bar to adjust the radius of the circles, and the grid plane to position the circles on the surface. Although the circles weren’t always in the correct place on each triangle, I was able to quickly populate and “bake” circles onto my surface. After this I could manually just move the circles around how I wanted and begin creating my pattern.

creating tabs.

To create tabs around my strips I also used a Grasshopper script, adjusting the width and angle of my tabs to be quite narrow so they wouldnâ&#x20AC;&#x2122;t block the light from shining through the holes.

Once I had ﬁnished “baking” the tabs I ﬁnished populating my surface with my circular pattern using Grasshopper and manually drawing curves and lines.

In creating my pattern I first populated the surface with a number of different sized circles, that were bigger and more dense in the middle and dispersed and got smaller outwards towards the top and the bottom. To create these half open circles which would fold and flap out to make the flat surface slightly three dimensional, I “trimmed” some of the circles and created a score line through it, where the circle would fold. To make the donut-like circles I drew a circle within a circle and used the trim tool to cut through the middle twice, and then reconnected the cut lines. As you can see, the flaps rotate from facing left, to facing down, and finally facing to the right, slowly rotating as they move up the lantern. This is beacuse I wanted the light to shine downwards on the biggest surface (being the back of the lantern) and to fold inwards as they turned to face each other in the front curve of the form.

Finally I was able to nest all my strips onto the one 60x90cm page on Rhino.

material/construction prototypes.

I decided to use a thick, creamy coloured mountboard to ensure the lantern would stand solid and not be too fragile. I also thought the off white would match the burn lines of the laser cutter, which I really liked because of the old, smokey look it left upon the surface. I hand cut these strips from the same mountboard as prototypes so I could see how this material would work in building my structure.

When I began constructing this mini prototype I realised that the mountboard was made up of a number of layers. This meant that when I went to fold the tabs down and glue them together, the tabs began to peel, creating tiny gaps for light to shine through. Because the board was so thick, it also meant that a gap of up to 3mm was created between the strips. Having this gap gave the model an unreďŹ ned, patchy and unseamless look and would mean the middle strip (which was unrolled vertically) would not connect in line with the rest of the model.

constructing a full size prototype.

I got my strips cut by a laser cutter becase I really liked the score lines left by the machine and the rustic, worn effect it created. Unfortunately because my mountboard was so thick, the score lines hardly scored the surface, even some of the cut lines didnâ&#x20AC;&#x2122;t cut all the way through, which meant I had to go through the long process of cutting over each and every score line so that it would fold.

Using a scalpel I peeled away layers from the tabs and the back of the circle ďŹ&#x201A;aps allowing them to fold properly.

After cutting out one strip I tested shining light through the holes to see what sort of shadow it would create. I was really pleased with the way the shadow turned out, as well as the way the model looked. I felt the light really enhanced the aesthetic of the strip, bringing it to life and allowing the circles to stand out.

I began constructing my full scale prototype using UHU craft glue and bull dog clips to clamp the tabs tightly together whilst the glue dried.

Originally I hoped that the bottom of the model would stand up on the tabs which I purposely left on the top and bottom because I thought they made the ﬁnish of the lantern look more interesting, rather than having the top as an open and ﬂat curve. However in this prototype I accidentally peeled the tabs thinking I was going to glue them to something else, so ended up folding them in at the bottom. I actually didn’t mind the folded in look at the bottom in the end, as it gave the form a more sturdy platform in which to stand. I ensured I left the tabs at the top in tact, which I found to be quite visually appealing. I really liked the look of the cleanly cut circles I had popped out of my surface and thought that I could perhaps use them somehow, sticking them onto the surface to create even more of a 3D surface. However I found that my model was already so busy and populated with circles that I wasn’t sure I needed more circles as this could overcrowd the surface.

construction process.

architectural precedents. [Uptown Penthouse by ALTUS Architecture + Design]

This 6 storey penthouse in Mineapolis was designed by ALTUS Architecture + Design. I was particularly intrigued by the staircase and use of a similar circular design in elements throughout the whole apartment. The staircase is very much the focal point, aesthetically a structurally beautiful piece from the inside as well as out. I love the dispersal of light which forms a spotlight composed of small circles around the base of the stairs when light is shone from above. When looking up through the stairwell, not only are the walls interesting to look at, but the steps themselves are made up of lots of little circles as well. I like the subtlety of change between the size of the circles that outwardly look the same, but actually create this dynamic pattern.

I like how the variance in circles and how much light shines through creates more circular patterns within the pattern of circles.

http://www.altusarch.com/uptownpent.html

architectural precedents. [Lightmos Thonglor by Architectkidd]

Designed by architecture and design practice, Architectkidd, the design of this building “sought to create a kind of ‘accidental’ facade.” I saw similarities between my pattern and this surface which hoped to reﬂect on the improvisational nature of construction in Bangkok. Like this building, I wanted my pattern to have an underlying formula, whilst still looking almost random, unique and individual.

http://www.architectkidd.com/

ďŹ nal full scale prototype.

Although you can see through to the insides of the structure and some of the tabs when you look through the bigger holes, I actually quite like the pattern created on the inside of the model. If I wanted to I could trim the tabs and make them smaller and less visable, however I like the rows of tabs you can see when you look through the lantern from the top, and the patterns you can see front on as well.

placing light within the prototype.

I quite like the way the lantern looks with a light in it. Here I just placed the LEDs at the bottom of the lantern, and as you can see the light is dispersing through the gaps in the bottom which I didnâ&#x20AC;&#x2122;t seal properly. Unfortunately having the light sitting on this angle didnâ&#x20AC;&#x2122;t really produce great circle shadows which was rather disappointing.

Holding the light at the top of the lantern really created the shadows and effect that I was after, having circular light dots surround the lantern and slowly disperse outwards. I will have to test ways in which I can get the light to sit or hang within the lantern higher up to create these kinds of shadows.

reflection. For my final model I’ve decided to use a thinner material, ensuring the paper is not made up of layers. This will allow the finish of my lantern to be seamless between the joins and hopefully have a much cleaner look. I will also make sure the edges of the circles aren’t too close to the score lines as some of these circles ripped slightly as they were too close to the edges. To ensure the flaps open properly I will adjust the score line to make more of the circle flap outwards. This will also allow more light to shine through. Overall I was quite happy with the aesthetic of my full scale prototype.

S T U D E N T J O U R N A L M O D U L E T H R E E - F A B R I C A T I O N R E N E E J A C O V I D E S 585430

I found utilising the ‘cage edit’ command could not fully deliver the results needed. I ended up tracing the original profile curves from module two, adding more control points for adjusting purposes.

Along with this ‘bumpiness’, I also extended the length of the model at the left, shorter edge. This was in consideration for the lantern’s ability to remain around the neck without further fastenings. In all my past panelling attempts with scale patterns, the panels were cut off prematurely, not reaching the outer edges of the

R E D E F I N I N G

I chose to purposely leave a perforation within the form at the innermost, shortest curve. This was a decision of convenience, for my panelling did not properly close the gap and replicate the surface. I later decided against this and sealed the gap by drawing surfaces myself.

F O R M

Following the feedback for my module two final presentation, I chose to slightly redefine the form in week seven and re-panel accordingly. I wanted to make each section ‘bumpier’- more inflated in a sense - for I feel this was lost in module two when filtered through a visual perspective. This was to restore in the design a likeness to my drawings in module one, where a focus on distinct, scale-inspired sections, arranged to simulate the motion in sloughing, was underpinned.

Module Two’s Model: Juxtaposition

R E - P A N E L L I N G

I came to the next step of panelling the new surface with my final tessellation concept. I encountered a problem loading my saved 2D panels though, and was not able to retrieve the designs used in module two. Correspondingly, I attempted to replicate the shape of the panels in a new 2D design. The model featured less scales, a given with an altered surface and fewer points in the panelling grid. I viewed this as a positive when reflecting upon the challenges of future fabrication. Despite this, the variable sizing of my new scales added further complexity to an already involved design.

ISSUES IDENTIFIED

The new panels created on my new surface did not possess the same uniformity as those produced for module two’s final. This was an issue, since the idea of consistency in the panels was relevant to my natural process. Furthermore, when trying to add ‘notching’ to my structural ribs I found that too many incisions were automatically added to the model. The ribs were not planar and convoluted. I did not see a viable way to construct them, so I separated the panelled ‘skin’ from the ribs as a next step.

U N F O L D I N G

P R O C E S S

In order to unfold the model made in week seven I divided the two components, ribs and scales. Due to time constraints and a lack of Rhino knowledge, I only managed to unfold the scales at the time. When undertakings were taken to unfold the complex ribbing the surfaces would not respond singularly, rather unfolding on top of each other at the origin. Another problem was with the scales, which individually were not connected at any points to one another. As such, the logical method of unfolding at the time was to unravel them each individually, creating over 70 components.

Panels unrolled with tabs and numbered labels. Placed onto A4 sized segments for home printing and fabrication of a prototype.

I S S U E S

As the next step I addW I T H ed some simple, triangular tabs to select P A N E L S edges of the unrolled panels. Through observation of the digitised model I found that all of the panels were closest at the same points throughout, which made adding tabs undemanding. The other main issue I had with week sevenâ&#x20AC;&#x2122;s panelling was the triangulation of the scales, which deformed the shape of panels overall. As seen highlighted on the right in green, the process of triangulation created overlapping polysurfaces which still unrolled. Also highlighted in orange are examples where the central â&#x20AC;&#x2DC;declineâ&#x20AC;&#x2122; in the scale was lost, with overlapping triangles found on the underside of the model.

M O D E L P R O T O T Y P E I formulated a prototype using the model and method of unrolling from week 7. The prototype was a 1:1 version of one of the model’s ‘bumps’ or ‘segments’. I was not happy with the shape produced by this technique. The original shape of the section was lost to elaborate panels and gaps. The sense of scales was also patently missing. Nevertheless, I thought it was successful in regards to structure. It was through this prototype that I saw the integrity produced by the many folds in my panels. At this point I decided to abandon my ribs altogether.

At the initial stages of the model, when I was still resolved upon embracing ribbing as a key feature of the design and structure within the lantern, I came across this real, fabricated example of a lamp at a family memberâ&#x20AC;&#x2122;s house. Although the lantern took on the literal shape of a light bulb and only boasted a simple box panel, the paradigm of consistency within my own panelling was reinforced through this object. This was typified through the uniform shadow patterns projected through such an unchanging approach to tessellation, an aspect of the design I admired, This lantern also served as an exemplar for the intersection between digital design and material fabrication, which was looming at the time. The joints for the plywood were a complex, yet effective means of notching for this specific material.

D E S I G N

P R E C E D E N T S

C O O K + F O X A R C H I T E C T S ‘CLOUD STUDIO, NEW YORK’

The cloud studio was introduced to me by my tutor in module one, where I reacted with some incomprehension. However I feel that it is a relevant precedent now because of its comparable design process to my own, and its emphasis on fabrication of an elaborate, naturally-inspired concept. The idea of a merging between overall form and more local, patterned geometry following a defined meander was a challenge undertaken by me in module three and executed brilliantly by the architects here. The use of ribbed ‘cells’ correlated to my own scales at the conclusion of week seven, though an interesting dissimilarity comes forward through the panelling’s lack of crevices, even after the fabrication process.

D E S I G N

P R E C E D E N T S In particular though, the design process and reliance on digital fashioning in architecture for the cloud project makes this precedent approximate to the lantern brief.

-Manually creating triangulated panels in the style of scales, with ‘surface from three or four points’ tool. This was to seal the opening at the inner seam of the lantern. -Re-drawing triangular segments in order to join the panels in unfoldable strips.

A P P R O P R I A T E

A D A P T A T I O N S

From the prototype exercise I was able to observe and alter the faults in the model. On the advice of my tutor, given upon hearing of my plan to discard the ribs, I chose to close the gap in the model in reinforce structural stability. This involved another step backwards to re-loft the surface with closed cross-sectional curves. In addition, I re-panelled the surface with another scale pattern. My new pattern connected at some seams, but not for the majority. Week 8 was spent re-creating triangular surfaces to join the scales in ‘strips’. Further, the new panelled skin did not span the entire surface, repeating my past problem with a gap at the innermost seam. Here, I manually created panels to seal the aperture.

One strip selected of ten, following the natural curvature of the model. Triangulation in each strip was alternate, depending on the size of the scale.

U N R O L L I N G After finally joining the seams of the scales, I proceeded to group and unroll the model in long sections following the curve of the design. This was a recommended change at a dropin help session and the most rational means of unravelling the model. To do so with singular scales, as per the prototype, would have been arduous and chaotic

Unrolled strip with tabs. I created two types of tabs - a sided trapezium shape and a triangular shape. The triangular shape was used for the majority of the panels.

My model’s tabs were at the same point for every scale. I created a simple system of triangles here which would suit the delicacy of the panels. To ensure the card cutter did not spoil the work, I made one line in each tab ‘area’ a score line in order to prevent rips in the card. L E G E N D Score Line Cut Line

FOR RE-FABRICATION -Four layers must exist within the Rhino file for the design to be appropriate for the card cutter. Red = Score Lines, Black = Cut lines, Blue = Pen lines, Magenta = Card boundary.

F I N A L F A B L A B

F O R

I prepared the unrolled sections appropriately following the fab lab’s defined settings for the card cutter. By this point I had resolved on white card as the material. Taking into account the intricacy of the lantern, a differentiation between materials was unnecessary to add detail.

D E S I G N P R E C E D E N T S N G V - P A N E L L I N G During the module I had the chance to visit the National Gallery of Victoria where I encountered this glass, square panelled wall. I found it an interesting junction between tessellation, building materials, joint methods and form for the real world context focused upon during module three, particularly in the readings. The section caught my attention due to the curvature in the wall, which flows to become the panelled roof as well. A clear variation existed between the joining methods for the panels on the planar portions of the wall and the rounded crossroads for the roof. Overlapping of the glass generated an intriguing effect with the shadows above, whilst the inflexibility of the material demonstrated to me an operation for real panels in professional practice.

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B O T T O M

V I E W

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T O P

V I E W

In order to help me differentiate between strips and set the lantern up for future assembly, I coloured and numbered each of the strips. The fact that only ten strips form the model removes some complication. Numbered labels were â&#x20AC;&#x2DC;pennedâ&#x20AC;&#x2122; onto my final card pieces from the fab lab. 01

D E T E R M I N I N G

F O L D S

Spanning from my fabrication of the prototype to the newly panelled and unrolled section, determining the status of folds and ‘joints’ was a lengthy process involving much alternation in ‘views’ and reference to the original Rhino model. When specifying the direction of folds, drawn diagrams (right) assisted me for each type of scale, of which there were many.

L E G E N D Fold Outwards Fold Inwards

Score Line Cut Line

Clearly recognisable, the complexity of my model arrived in the many fold lines for each scale, providing the lantern with its structural strength and inherent shape. Here I have used another system of colour-coding to differentiate between lines which must be folded inwards and outwards. Score lines and cut lines still remain upon the edges of the model, these do not undergo folding.

D E S I G N

P R E C E D E N T S

P L Y A R C H I T E C T U R E ‘SHADOW PAVILION’

The ‘Shadow Pavilion’ for the University of Michigan, by Ply Architecture based in the US. I came across this online and thought it an appropriate precedent for the direction of my work, since it involved a panelling approach with caverns and curvature in the design, just like my own 2D scales. What was inspiring about this project was its basis in a study of architectural ‘space entirely made up of holes’. Although the adoption of cones as a panelling system for a largely rounded was inconvenient, the overall design and original vision for the pavilion (inspired by the botanical concept of phyllotaxis) was not hindered in this regard. In particular, the use of such a raw steel materials and joints to convey this free-form design served as another indication into the potential of virtual composition. I found this also correlated to Paul Loh’s lecture upon the changing design sphere in week seven.

M A R C F O R N E S, T H E V E R Y M A N Y D E S I G N TESSELION, PHILIDELPHIA UNIVERSITY, 2008

P R E C E D E N T S

As in my last module I was fascinated by the installation work of Marc Fornes and found it influenced me in the direction of my own design. Here, the project ‘tesselion’ encompassed a particularly complex, jigsaw of panels to produce an irregular form dictated by virtual processes. During the module I came to realise the direction of design, the reliance in the professional world of architecture upon ‘hard’, ‘digitally written’ creation to create contemporary, as well as serviceable works today. This project especially caught my notice because of its approach to ‘tabbing’ complex quadrilateral panels. An awareness of the form’s solidity is also portrayed from Fornes, with the inclusion of perforations to increase light flow and reduce ‘bulk’ /opacity being an aspect of the design also connected to my lantern.

M A K I N G F I N A L M O D E L

• Cutting out the strips along the edge’s score lines . • Following the fold guide I had produced I folded each scale along score lines until it replicated the digital version. Reference back to the Rhino file really assisted in this process for further clarification. • GLUING TABS ONTO ULTIMATE TRIANGULAR POINT FOR EACH ADJOINING SCALE.

F A B R I C A T I O N P R O C E S S

• Continuing to glue the strips together at the appropriate seams. I found this a finicky, difficult process which required time and precision. • As the sections were glued down the model took on the defined surface shape. I aided somewhat here, adjusting folds in some scales to emphasize the ‘bumpy’ segments in the form. • Lighting was also an issue I didn’t address to my own standards. I increased the length between my LED lights and their batteries through the addition of wires. Blu Tac meant the lights could be simply slotted/stuck into place, with the wires allowing the batteries to still be accessible to the wearer.

F I N A L

M O D E L

P H O T O G R A P H S

F I N A L

M O D E L

P H O T O G R A P H S

C R I T I Q U E, R E F L E C T I O N, C O M P A R I S O N DEFICIENCIES

Although I was satisfied with the resulting appearance of the model from some perspectives, I believe it lost some of the aspects crucial to the Rhino design and original theories from my natural process. • The form of the lantern was quite flat when viewed from the front or side perspectives. The ‘bubbles’, representing individual scales in motion and life’s stages in circular, repetitive formation, were not as defined as I had hoped. I believe this was a flaw in my reproduction of the NURBS surface in week 8, despite making allowances to inflate this effect. • The length of the shorter ‘hooked’ end, was not adequate for the wearable position around the neck. I found the model did not stay in this spot as I had intended. This was also an issue with the NURBS surface, but more specifically with the tendency of a panelled grid to not extend the full length of a surface. • Lighting was difficult to incorporate when worn on the body. This was not an issue for photographs in the photostage.

TRIUMPHS

Despite drawbacks listed above, there were many features of the model I was satisfied with: • Consistency in scale pattern and seam position gave an impressive visual effect, especially with the addition of LEDs, casting a uniform like shadow onto surrounding planes • The numerous folds in each scale removed the need for interior ribs. This was an aspect i did not recognize at the beginning of the module until my first partial prototype. I would further exaggerate the model’s voluminous form if I were to recreate the lantern.

C R I T I Q U E, R E F L E C T I O N, C O M P A R I S O N Personally, module three was a learning curve for me, whereby I was introduced to the limitless possibilities for real-world fabrication with the aid of digital methods . However, I was somewhat contained within Rhino due to inexperience, and partially restricted in the production sense due to the complexity of some of my computerised designs. I discovered the importance of prototypes from separate materials/designs when producing three-dimensional products in this digital medium. As such, prototyping can be seen as an intersection for the analogue and virtual systems addressed in the project - where the shortcomings and solutions of digital design can be realistically determined. The many factors involved in making a usable, serviceable and aesthetically realised lantern were challenging on the front of eluding original inspiration and notions. To remind myself of my natural process of sloughing, of capturing motion and symbolizing life’s recurrent pattern was necessary to produce a relevant model which reached my standards, along with those of the brief. I find this was reflected in the ‘Making Ideas’ reading, where Jakob + Macfarlane’s architectural creation for ‘Restaurant Georges’ served as a crucial advance into digitally conducted design, yet the original intentions for the project and the practice’s design style was only enhanced rather than inhibited by new methods. The Restaurant Georges for Paris’ Pompidou Centre epitomized the production of organically inspired forms via computerized means, leading to a more successful result and higher comprehension of space and materials’ abilities in synonymous conjunction. In contrast to this and my own altered approach towards fabrication/design processes were Architect Frank Gehry’s perspectives upon digital design, addressed in the reading for week eight. As fervently substantiated by the start to finish manufacturing of MIT’s Strata Centre by, ‘a flowing, three dimensional form could not be adequately captured by two-dimensional drawings’ relied upon for the fashioning of the Guggenheim centre. I believe it is this significant shift in architectural thinking which enables for a more involved, coordinated and spatially free-form style of design that still realises original notions and enables for further illustration of visual conceptions.

[ABOVE] Georges Restaurant, Pompidou Centre. [LEFT] MIT Strata Centre, Massachusetts.

“The beauty of the digital model is that it can encompass that which a two dimensional drawing cannot: temperature, air flow, the bahaviour of smoke, light and acoustics.” Reading #3: David Littlefield, SPACE CRAFTL: developments in architectural computing.

C R I T I Q U E, R E F L E C T I O N, C O M P A R I S O N

An interesting notion covered in reading three was how digital design can grasp and illustrate extensively both literal and unseen worldly processes. I found this directly connected with my natural process but extended into the realistic domain of fabrication. The difficulty of the past three weeks was translating a very theoretical, virtually assembled object into a physical product which still realised original hypotheses. Throughout the module I came to fathom digital design’s role in this very twenty-first century idea. Take, for example, THE TERRAIN MAP, by Rodi MacArthur and Sheppard Robson for the redevelopment of Penrith, Cumbria, UK. The topography around England’s Lake district was a key aspect of the design for a town facade, where digital maps of the landscape were literally transcribed onto the vertical wall and appropriately panelled in strips. I find this precedent inherently linked with the theories being projected to us during the module three lectures and task work, being registered also by my own design process . It is incomprehensible to fathom how my results for module three could have been attained without the service of RHINO 5 to expressively communicate the ‘sloughing-in-motion’ process in fluid, justified lofted surfaces. Further than this, to generate a systematic, uniform panelling approach and accordingly unroll these segments for testing was a crucial element behind the lantern’s design process, evidenced in many similar projects referenced during the model. The ‘to and fro table’ by NEX architecture (Alan Dempsey, Paul Loh, Michal Piasecki) in for London Design Week. The initial idea behind this invigorated reevaluation of a mundane household object, being the expansion of communication, had to meet building requirements and address the impositions of materials/necessary mechanical equipment for cutting. Recognizing this intersection - this crucial development in the design process from virtual creation to physical assembly - informed and influenced my design overall. The module was ultimately a consistent exercise of modifying my form for the good of fabrication, whilst still retaining original plans through the aid of the digital medium.

[ABOVE] Terrain Map, imagery, Rodi MacArthur, SHappard Robson. [LEFT] To and Fro Table, Nex Architecture.

MODULE THREE - FABRICATION

Rovi Dean Lau Student No: 543495 Semeter 1/2012 Group 8

Recap on Module Two...

Digitization of Model

In module two, I explored with different panels for my lantern. Designing it as close as my plasticine model. Features I took note of was the principle of sound and the twisted body. Ended up with a design with a custome 3D panel with twisted body.

PROTOTYPING - MARK I (scale 1:3)

First prototype in process. Prototype of model - Scale (1:3) Material: White A4 paper 80gsm Parts that I prototyped was the body and the head. For the head, I tested out whether it was a good idea to unroll it vertically. Outcome: Not good to unroll vertically due to the shae of the panels, giving it a hard time to stick sharp corners together.

PROTOTYPE - MARK II (scale 1:1)

Labeling of unrolled surfaces and colour identification. (Head) After my first 1:3 prototype, I carried on with a full scale prototype. It makes more sense for me to do a full scale prototype due to its fragile triangular shape panels. Unrolled it in a twisted manner, mmistake laernt from my first prototype.

Head

Legend: - Above

- Below

Labeling of unrolled surfaces and colour identification. (Body)

Unrolled in a twisted manner. Designing it as close as possible to my plasticine. Body

Legend: - Above

- Below

Labeling of unrolled surfaces and colour identification. (Tail)

Tail also unrolled in a twisted manner. Showing the flow of wave going through the lantern; soundwave.

Tail

Legend: - Above

- Below

Tabbing - Grasshopper Found a script for grasshopper which made things easier. In order to manually edit tabs from grasshopper, I had to bake them first then explode it in Rhino. This allowed me to deleted tabs that I do not need and resize individual tabs. Once the tabs were created, I arranged my surfaces into the are of 900x600mm and were ready for cutting.

Hoping to achieve from second prototype: - Testing out the cutter to cut small triangles without ripping. - Twisted unrolled surface could work. - Lightings

Starting of putting together of Prototype - Mark II

In order to form my triangles properly, I had to under score the other side of the paper and fold it.

Mistake found: - Found double tabs created on the same side. Resolved by cutting away the tabs. In order to prevent this happening again, I edit on Rhino as I go along.

Process of Prototype - Mark II (Head)

Outcome (Head): - Twisted surfaces easier to put together. Head Completed

Process of Prototype - Mark II (Body) While I was done with the body, I thought of testing the lightings out. From my precendent in Module Two, I wanted to create that calm soothing effect that does comforts someone when they look at it.

Thematic Pavilion EXPO 2012 Yeosu, South Korea Architect: SOMA (Austrian firm founded in 2007) Construction date: 2010 (completion 2012)

Testing with original design Result: Feels abrupt, not that calm and soothing. Original design with tracing paper - Result: Calm and soothing, close to what I had in mind.

Process of Prototype - Mark II (Complete)

Result: - Folds were not accurate - Holes due to improper gluing and folding - Material was tearing. - Due to lots of triangle holes, the lantern was not that rigid. Solution: - Use a thicker ivory card - Making sure all the folds are accurate

REFINING IDEAS: PRECEDENTS & INFLUENCES Looking back at my process which was soundwaves, I focused too much on the principle of soundwaves, which was compression and rarefaction. Looking beyond that, soundwaves generates different frequencies and amplitudes. Simply put it, noisy (harsh noise) and quiet (peaceful and calm).

Singapore Changi Airport Terminal 3 Architect: Woodhead Pte. Ltd. Completed 2008

Paper Lanterns.

The roof panels are controlled by a light sensor to control the amount of light entering. - Noisy soundwaves = Random peaks of waves = Harsh Lights - Quiet soundwaves = smooth soundwaves = Calm Lights

Materials and Structure

Added holes on the solid panels of the body. Replacing them with other materials like tracing paper.

Wanted to try out other materials besides tracing paper. Tried tracing paper, black paper or polypropylene for effects on the body. Polypropylene was more rigid then tracing paper, however it was too clear. It did not diffuse the light like how paper lanterns does. Black paper did not allow the loght to pass through, so went back to the original idea, tracing paper.

Tracing Paper

Black paper - 200gsm

Lighting Connected them in Parallel: - Shares the same voltage across all LEDs - If 1 LED blows, the others will still light up.

Tested LEDs with 1, 2 and 3 batteries LEDs with 2 abd 3 batteries are about hte same brightness, but brighter then with 1 battery.

To create a harsh light and fading at the end, I decided to Put 3 LEDs at the head, followed by a set of 2 LEDs and lastly 2 sets of 1 LED.

Lighting I was trying to find a way to place the circuit in my lanter. Plan to hide the switch, making it less obvious so I fiddled around with my prototype. Cutting open the tail and tried placing it at the tail. For the LEDs, they will be placed at the center of the lantern through the whole body.

Metal wire and tape to hold it in place. Used tracing paper to conceal the colour of the wire.

FINAL DESIGN...

Final Design in process

Final design on the left with lights on. Prototype Mark II on the right.

FINAL DESIGN

Reflection

Out of all 3 modules, I would have to say that module three is the most reward so far. It basically shows our outcome for the past 6 weeks. One thing I learnt from doing this module three - fabrication, was about prototyping. The stage where it reaches prototyping is very crucial because that is twhere most mistakes and ideas come about. The object bascially comes to life, a solid 3D object, not a 3D animated object on the computer screen. Our mind thinks and feels better when an object can be held or felt, it gives our mind a different perspective. For example, constructing a chair. On a computer screen are basically lines and shapes. One thing that we are unable to see or feel is the comfort of the chair, or the strength of the chair, materials and so on. In order to find the perfect chair, or which ever suites the purpose, we have to go through the prototyping stage where different chairs are made out of different materials and find the best chair. As far as designing is concern, an architect, fashion designer or a mechanic, prototyping and fabrication of such ojbects are need to examine where mistakes and errors are which cannot be identified from the computer, and also the good stuff. Besides the hardware stuff, even chefs have to create different samples of their dishes to try and see which ingridients creates the best tasting dish. So it is probably a way of life in the professional world, always finding new ways to design objects better and more improved version of the previous. A good example is the Apple products. From iPhone to the latest iPhone 4s. Improving and identifying the errors may take months to years as well. I would say it is an on going process, a life cycle.

MODULE THREE SARAH FRARACCIO 539769 Virtual Environments, Semester 1, 2012

AIRFLOW KEY IDEAS

The oscillating intensity of energy as airflow as it passes over a surface continues to govern the design process in module three. With great focus on the representing the changing phases of this natural process, module three allows structural, material and luminescent qualities to strengthen the outome and further consolidates the linkages between the initial concept and each stage of the design process. As the outcome takes shape, the representation of the natural process becomes more relevant to the human interaction with the form, thus the path of the air as it passes over the arm upon which it will be held becomes a dominant governing factor in the design.

AIRFLOW UNROLL

1: rapid high energy 3: Low energy, floating airflow 5: dispersing outwards airflow converges at elbow

converging at wrist join

and downwards

The lantern was divided into five panel sections that illustrated different stages of the airflow process as it passes over a surface. Structural qualities and location of joins and tabbing were also taken into account so that joins were not placed on major areas of visibility. Using only five main pieces minimised confusion during the construction process.

2: high energy airflow disperses and mean- 4: High energy airflow cascades ders outward after converging at elbow join. and disperses, low energy

AIRFLOW TAB

Simple rectangular tabbing was used and attached to every join edge rather than glueing tabs to the underside of a surface. This system was selected to minimise the visibility of surface joins when an inner light source is applied.

AIRFLOW JOIN Sections 02, 03, 04 and 05 each have multiple components that form the greater section piece. Due to overlapping panels and paper size contraints, these panels had to be seperated and re-joined in the contruction process. Each section joins onto a panel edge of section 03, this process is illustrated in the figure at right.

03 01

02 04

AIRFLOW NEST With prototying procedures in mind, unrolled surfaces were nested into an A2 sized file for cost effectivity in printing. Sections were arranged to reduce wastage material and space was left between panels to allow for differentiation in cutting and constructing.

AIRFLOW PROTOTYPE ONE: SCALE 1:2

The initial prototyping process was aimed to determine whether the unrolled faces would connect and whether the structure would hold together. The nested surfaces were printed on standard A4 printer paper and manually constructed at 1:2 size. The structure succesfully held together though the inner tabbing interfered with the smaller panels. In future prototyping, the tabs in areas of substantial joining will need to be tidied, particularly where they are visible through the

AIRFLOW REPRESENTING THE PROCESS high energy airflow dispersive, low energy airflow

dispersive energy, air meanders outwards and downwards

high energy airflow

To further strengthen the representation of the fluctuations of energy within the airflow process, contrasted card colour was considered. The black card representing areas of energy intensity and the white card, areas of dispersive flow. The digital representation of this outcome produced a stark contrast between stages of the process rather than the desired gradual flow from one stage to another. Other representational techiniques will be tested to find a more suitable outcome.

AIRFLOW LIGHT Aiming to further represent the fluctuations of energy involved in the chosen natural process, lighting will play an important role. Lighting will communicate the intensity of energy by way of placement in the model. The areas of dispersive airflow will be more illuminated than areas of intense energy. The diagram below depicts the possible placement of LEDs in the model, this will be further experimented with in prototyping.

Main areas of illumination, illustrative of dispersive energy airflow.

AIRFLOW PRECEDENT

SOUTHERN ALBERTA INSTITUTE OF TECHNOLOGY PARKADE: BING THOM ARCHITECTS. The facacde of this parking facility, designed in collaboration with Roderick Quin, an artist from Vancouver, utilises metallic disc paneling and light reflection to evoke the motion and flow of cloud formation. By reflecting light, these multi-directional discs portray the natural process and, when viewed at different angles,display different figures. The use of light as a representational technique will be implemented into the lantern design, where the placement of lighting will further illustrate the energy intensity of the natural process.

AIRFLOW SHADOWING Tab affixes beneath the join panel and creates a shadow affect

Varied card thickness could be applied to represent areas of differing intensities as ‘dark’ and ‘light’ areas. This process could produce an effective outcome aesthetically, but may cause difficult in joining panels of different card thickness. The model would be likely to appear incoherent and may warp if thicknesses are too varied.

area of intended shadowing

thick card: intense energy thin card: dispersive energy

The suggested technique of using tabs as ‘double panels’ to convey shadowing was considered in the representation process but it was realised that, due to the large panel size, this effect would only apply to some panels at the join areas unless the 5 sections were further split, which is not favourable both for structural qualities and for ease of construction.

AIRFLOW SHADOWING As an alternative to using tabs as â&#x20AC;&#x2DC;double panelsâ&#x20AC;&#x2122;, A second set of faces will be printed and attached to the back of the shadowed faces. The images at right display darker panels where the shadow faces will be attached. This shadowed effect will work together with a lighting system to communicate the energy intensity fluctuations.

AIRFLOW PRECEDENT

Shadowing and overlaying surfaces are implemented here in the design of the Swarm Chandelier by Zaha Hadid and in the facade of this ecolodge. The spacing of material and the layering of them in response to light creates ‘light’ and ‘dark’ areas much like the proposed ‘double panels’ of the lantern form. This shadowing effect creates depth and intensity in each of these examples, the lantern design should also evoke the varied measures of energy using this technique.

AIRFLOW PROTOTYPE TWO: SCALE 1:1 Prototype 2 was constructed at actual scale and printed onto standard printer paper. The finished product indicated the outcome size and how it will sit on the outstretched arm. The sizing fitted perfectly on the forearm with a suitable panel located for hand support in the second â&#x20AC;&#x2DC;high energyâ&#x20AC;&#x2122; section. Constructing the model to actual size more accurately depicted the relative size and location of tabs within the model and in congested join areas and also indicated that some tabs had not been seperated where two face edges were on the same straight tab edge, this will need to be improved for the final model.

AIRFLOW PROTOTYPE TWO: SCALE 1:1

A second set of selected â&#x20AC;&#x2DC;shadowâ&#x20AC;&#x2122; panels were glued to the outside of the panels where this effect was desired. Due to the lightweight quality of the paper, the technique did not produce as effective an outcome as was aimed forwhen light was applied. A heavier weight card should produce a greater variance in shading, this technique will be implemented into the final design.

Applying light to the top half of the model demonstrated the area that one light source can illuminate in a cavity. The final model may only need a small number of LEDs to convey the gradual dispersion of light as the use of a high number of LEDs may solidify the light rather than accentuate the light and dark areas.

AIRFLOW LIGHTING: LED LEDs were connected in series with resistors on each globe. A total of 4 LEDs were decided upon so that differentiations in lighting could be visibly seen rather than the structure emitting a solid light with no evidence of gradual luminance.

The series was tested on the full scale prototype to decide on the placement of lights within the structure and also to discern the effectivity of the shadowing panels. As the model was made from standad office paper, the light emitted was sufficient and the shadow panelling proved effective.

AIRFLOW FINAL MODEL NESTED MODEL: FABLAB FILE Additional â&#x20AC;&#x2DC;shadowingâ&#x20AC;&#x2122; faces arranged in the remaining space of page 2, the shadow panel file will be used as a guide in construction.

Set out on the 600x900mm file size, panel pieces were labelled and arranged in the most space-saving manner.

End tabs and narrow corners were marked as score lines rather than cutting lines to minimise tearing in the fabrication process

AIRFLOW FINAL MODEL

The full scale model was constructed of a medium weight ivory card and even with this card thickness, some tabs were difficult to join as the form was not as maliable as the previous paper prototypes. Particularly in panels that folded inward rather than outward, the form was difficult to shape as the score lines had been marked to aid the most common outward folding direction of the card. The lantern, once completed, appears to be solid and durable, an indication that the card weight was well suited to the end product and the issue of hiding the visible tabbing became less of a problem with less than expected visibility of the inner lantern. The shadow tabs however, did not appear as succesful as hoped, possibly due to the few LEDs in the most shadowed regions.

AIRFLOW FINAL MODEL

FULL SCALE MODEL: ILLUMINATED The form is shaped to flow over the outstretched arm and is effectively proportioned to this shape. The LEDs cast circular light projections onto the surface of the lantern but. in doing this, further enhance the cascading and meandering motion of the process by indicating the lack of stillness. Interestingly, the clear LEDs slightly change from a blue-white light at the initial phase to a green-white light at the end. This effect, although not an intended outcome, could further illustrate the airflow process and the principle that the air disperses at the end of itâ&#x20AC;&#x2122;s flow in a different form than how it began.

AIRFLOW ANALYSIS Module three materializes the design of which each student has been refining and shaping throughout the semester, this journey of transfer from the digital expectation into the physical form can encounter more constraints than one could have anticipated. Referred to quite often in the design world is the notion that the design process is like fire-fighting, that one must solve each problem (or fire) as it arrives. Surely each student is faced with material, technological and time-based constraints in each design task undertaken but with the technology of digital fabrication, a multitude of other possible contraints are avoided. In the case of this lantern design task, very few students would be able to fathom how to form such intrictately precise structures out of card without the aid of digital development and fabrication. In professional practice too, lies this benefit too, of the adoption of digital fabrication in design. This is certainly the case for German company ‘Huf Haus’ who produce digitallyfabricated housing and buildings to much of europe. Although the company mass-produces these housing panels, they still claim to tailor-make their houses to each client’s needs and this principle is justified by the ability of digital fabrication to refine the digital plan of an existing base-model building without having to completely re-draft a new concept. The standard of quality and precision produced by this digital fabrication process exceeds many on-site, manually constructed builds of similar nature and the time frame for an entire Huf Haus to be constructed on site can be as little as 3 days! With the rising predominence of digital fabrication techniques in design it is increasingly important that students embrace new technologies, particularly when they save increasing amounts of time and monotonous effort. It is important though, that digital fabrication and virtual modelling do not become the driving idea of design, although we can surely ‘learn from the machine age’ we must be careful to retain and capture the unique workings of the designer’s mind without the external options such as what new technology could be used to produce the design. Design that takes form through digital fabrication should first be birthed from pure design ideas, not a thinking that automatically considers technologies and techniques.

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CONTENT

- Introduction ....................................................................... 3 - Design difficulties ............................................................... 4 - Structure difficulties ........................................................... 5 - Unrolled surfaces ............................................................. 11 - Materials ........................................................................... 12 - Assembly instructions ...................................................... 13 - Construction difficulties and tips ................................... 15 - Lighting ............................................................................. 18 - Precedents ....................................................................... 20 - Critical reflection ............................................................. 23

VIRTUAL ENVIRONMENTS - 2

INTRODUCTION

In the first module, change of seasons was studied and a physical model was model. Using the software Rhino, the physical model was drawn on the computer. After manipulating the overall shape, custom panels were designed to cover the model. After making a couple of adjustments the final virtual model was complete. This module demonstrates the steps which was taken to divide the model into smaller pieces, cut from materials and constructing the final physical model.

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DESIGN DIFFICULTIES

The custom panels which covered the design, were non planar and they started to overlap at the bottom of the model. This has happened because the panels were not into a mesh before the base surface was paneled. In the fabrication process only planar surfaces are suitable to be cut out of paper. To solve this problem, the faulty panels were deleted and then replaced by a series of planar triangles which created a surface. By doing so, the structure was more stable and it also enables the process of fabrication. The new drawn surface would also prevent the model from having a sharp edge at the bottom which could have complicate the assembling process.

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PANELS

In the first attempt to fabricate the custom panels, the main part (with black color) was cut separately from the transparent part. A base was also cut to make the whole panel more stable. The panels were designed to connect to each other as it is shown on the picture. The main problem with this construction method was that since the pieces were not cut out of the same material, the gaps between them could be seen easily as the model includes some strong curves. As it can be seen from the pictures, the overlapping tabs could be seen from the other side which was not desirable. Having 2 tabs at the same place was also a waste of material.

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To solve those problems, all of the panels were joint together and cut out of Polypropylene. After that, the black stripes were joint together and then cut of black ivory card. The black ivory card was glued on top of the Polypropylene. The black ivory card does not let the light to pass through, as a result the glue traces are not visible from the other side. This method allows the assembly process to be done in a shorter amount of time and the final model is tidier.

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RIB STRUCTURE

To support the panels, a rib structure was needed, so the panels could connect to. In the first prototype a series of thin ribs were chosen to connect to each other and provide strength for the whole model. The problem with this method was that the chosen rib was very thin and it was very weak. The edges and some gaps were visible if a light was put behind the ribs.

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This problem was solved by choosing another part of each rib. By choosing a bigger piece, no gap was made in between the ribs and it was easier to glue the ribs together. The complete rib structure was so strong that it could support its own shape and also after connecting the panels, it was strong enough so a base was not needed for each of the panels at the bottom.

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PROCESS OF MODEL MAKING

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VIRTUAL MODEL

1st series of panels 2nd series of panels 3rd series of panels 4th series of panels 5th series of panels

1st rib 2nd rib 3rd rib 4th rib 5th rib

6th rib

7th rib

8th rib 9th rib 10th rib

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UNROLLED SURFACES

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MATERIALS - Black Card Black card was stronger than normal Ivory card which made it a good material to use for the structure holding the load of the model. It also did not the light to go through which made it perfect for the outer panels which had to filter the light. Black card also did not leave any traces after being cut by the laser cuter. - Polypropylene Although Polypropylene was very difficult to bend, its thickness and strength helped to strengthen the model. This material was also transparent which was used in making the panels. - Ivory Card Ivory Card was both the weakest and lightest of the materials. Its weight was useful, as the model was getting heavier. It also let the light trough although not as much as Polypropylene which was used where there was less light filtration needed. - Glue Super Glue was used for most of the model where two card materials were joining. But Super Glue failed to provide a strong connection between Polypropylene and the card materials. UHU was a very good substitute as it dried reasonably fast and it was more tidy to use.

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ASSEMBLY My goal was to design the pieces in a way that would ease the assembling process. The desired methods should be quick an would be able to hide the connections between the pieces. The desirable structure also supports the panels weight in addition to its own.

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PROCESS OF MODEL MAKING

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CONSTRUCTION DIFFICULTIES AND TIPS

To fix the panels on the correct place was to some degree difficult at the beginning as the model and the curves were shaping. Clippers were crucial to hold the pieces together as the glue was drying. The use of UHU as the bonding glue enabled me to use Acetone or Nail Polish Remover to remove the traces of the glue on the model. This had a huge effect on the overall tidiness of my physical model.

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ASSEMBLY STAGES

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VIRTUAL VS. PHYSICAL MODEL

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LIGHTING

For the lighting, first the plastic part of the wires was removed to allow a connection between the LEDs and the wire. Then the cupper part of the wires were twisted around the LED legs to have the maximum contact between the two. After that to fix the connections, they were covered by tape which would prevent the connections to create a short circuit as it was not conductive. This process was done 42 times. after that the LEDs were connected to the model using Blue tack as it helped to hold the LEDs inside the panels and not to let them touch the model so it would create a better light effect. This would create a type of light which shows the path of the light and not its source.

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PRECEDENTS

Canadian born Frank Gehry is well known his expressive and recognizable architectural style. Gehry’s works are innovative in the use of materials and they are driven by shape. He spent most of his life in Los Angeles and the city’s life style had a big influence of his first projects. By assembling ordinary materials such as ply wood, chain-link fence and etc. He tries to create Cubist-inspired buildings. By time, his works adapted a more curvilinear shape as he tool on bigger projects. Rather than reflecting or blending with the surrounding, Gehry’s buildings stand out as defining aspects of their surrounding.

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Gehry was the first architect to use digital technology to fabricate previously unrealizable forms. The importance of digitization can be clearly seen in his own words as he says: â&#x20AC;&#x153;I started making shapes that were hard to draw. That led us to the computer and to Catia software which made me realize the possibilities and the level and degree of accuracy you could create in your documents and your relationships because of the softwareâ&#x20AC;?. The use of CAD software has allowed Gehry to draw, design and construct buildings such as the Guggenheim Museum (left hand side) and Experience Music Project (right hand side). Similar construction methods have been used to build the two buildings. As in can be seen from the pictures, a fabricated steel frame clad supports the building and then it is covered by Titanium or metal sheets. These eccentrically-shaped sheets of the outer shell were cut by laser guided data generated directly from the modeling software. Then the sheets are fixed to the skeleton using a pin.

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MODEL ON MY BODY

VIRTUAL ENVIRONMENTS - 22

CRITICAL REFLECTION

As a future architect, I believe one of the biggest challenges in architecture is to bring the ideas in the designers mind on a piece of paper. CAD software is a tool that helps the designer to broaden his imaginations and to dream big. In some occasions even big architects such as Gehry cannot draw some of their complex ideas on paper. Using CAD software allows them to draw these ideas and to present them to others which is very important for architects, as a big part of their job is to transfer their ideas to the client. Digital designing has enabled architects and structure engineers to be able to think about the fabrication process from the early stages of the design process which can be very helpful to save both money and time. By doing this module I realized how considering the fabrication process while designing can help to create and generate new ideas in both designing and fabrication process. This allowed me to design my model in a way which no tabs were necessary and the structure was strong and stable. The virtual side of the designing process allows architects to test their ideas in the virtual world before making them in the physical world. In this module I have learned that a design does not necessary have to be physical and a virtual design could also be more effective to create a virtual space for people to interact. As it was also discussed during week 10 Lecture, the design is developed by the designer to some extend and some of the design stages are completed by the design itself. Using Rhino introduced me to this part of the design process and enabled me to understand it in a much better way which could be very useful in the future.

VIRTUAL ENVIRONMENTS - 23

Tiffany Natasha Santoso Module 3 Student Number 551502 Group 15 Semester 1 2012

Recap: Precedent Recognition

Diploid Lamp

2010 Diploid B Lamp

2009 Diploid Lamp

Diploid Lamp Series (2009-2010) - Matsys. These digitaly fabricated lamp series includes very unique lamps with a kind of flowy surface, just like how I want my latern surface to be. As you previously see from my key ideas, I tried to capture the shape of the Mimosa Pudica leaves during thigmonastic movement where the leaves start to fold when it touches vibration from the end of the leaves stalk towards the rest of the petiole. Thus creating a flowy, curve like, abstract shape. The flowy shape as you can see, influences the flow of the light throughout the lamp. The Diploid lamps’ light paneling patterns are inspired by nature such as scales, honeycombs, and barnacles. I really like how the shape of the lantern and the paneling paterns goes perfectly in harmony. Furthermore, the new Diploid B lamp (2010; img: top right) is fabricated entirely without a glue. Every connection is a locking tab that enables the lamp to be built quickly despite the nearly 1000 parts. This method of ‘a locking tab’ will certianly be a useful reference when I try to panel and fabricate my lantern.

Recap: Precedent Recognition

Linfan Liu and Luke Johnsonâ&#x20AC;&#x2122;s

Project by Linfan Liu and Luke Johnson (Spring 2009). Focusing on thigmonasty, the folding reaction of the plants when it is directly touched, they tried looking into a simple shape that can be folded into a more complex geometry. By adding sensors to the panels, it creates interaction between the body and the design . When a person gets closer, the basic shape of triangle would divide up and it will go back to the basic triangle shape as time goes by. This project inspires me a lot when creating my paneling patterns. Just like them, I want to capture the effect of thigmonasty. Through light, they managed to tell a story of a mimosa pudica plant which undergoes thigmonasty and this is really interesting. As a designer, I personally like things that tells something/story. I think it gives a deeper value/meaning to the design and shows that it has an excelent quality.

Module 2

Recap

Standard 2D â&#x20AC;&#x2DC;Tribasicâ&#x20AC;&#x2122; Panel

Custom Variable 3D Panel with Point Attractors Model 1

Custom Variable 3D Panel with Point Attractors Model 2

During the digitazion process in Module 2, I went through form and paneling manipulation and experimented with several techniques. I decided on having Standard 2D Tribasic Panel as a guide to my 3D paneling as I thought it is the most suitable 2D panel for my design. The model 2 was my final design outcome during that module, however I decided to manipulate and change it further due to the problems that it has.

Digitation

3D Paneling Elaboration - First Model

I also found out that there is another problem with this paneling method, the edges of triangle does not seem to stick together. Furthermore, there are no ‘locking tab’ system that could hold these triangles together. I went with my intial paneling pattern to see how it will work on my shape using the 3D custom variable paneling tool. With the offset, I set up the point-attractor to create an asscending effect of the thigmonasty. Unfortunatelly, it does not go well. It looks pretty ‘bizzare’ and I could not really see the different openings of my paneling patterns unless I zoom in and look at the surface of my shape at a closer distance.

Digitation

3D Paneling Elaboration - Second Model

After the problematic result on my first tryout on the 3D paneling, I thought about the experiment that I had with TriBasic patterns while doing 2D grid paneling on my lantern shape. Dave also suggested that I formed the triangles into square, so that the triangles can stick to one another and the surface will not collapse. I tried making another set of paneling patterns. I copied each of the respective triangle and rotate them using the mirror tool to form the TriBasic shape, hence creating a locking system for each pair of triangles. Like the first try out, I used the 3D custom variable paneling tool with the point attractor on the top to create the asscending effect of thigmonasty with the 4 different paneling patterns. At first I thought that I have solved the problems which occurred on my first model. However when I look closely at the panels, I realized that there are still a lot of gaps between each â&#x20AC;&#x2DC;squares of trianglesâ&#x20AC;&#x2122; and the chance for these panels to stick to one another is very low. I had to acquire the fact that this wont work eventually. Furthermore, I thought that increasing the dense of the grid will help me achieve a smoother outcome. However at this stage, I realized that increasing the dense of the grid means more hardwork during the fabrication later on because it makes the pattern even smaller. At the end of module 2, I knew I still need to do a lot of manipulation and experimentation to get my paneling patterns to work. I also want to make sure that the panels goes in harmony with the shape of the lantern. In addition, I also considered leaving some surface at the bottom part of the lantern flat.

Digitation

Module 3: Remodeling

Towards the beginning of module 3, I decided to do alterations and remodeling to my design. I created a panel with similar concept that looks more simple and less problematic. With this new panels, I was hoping that one triangle will stick to another triangle, hence forming a square and those squares will stick with each other. Unfortunately when I tested these new panels onto the surface, there were gaps here and there. Furthermore, the panels does not stick with each other.

Remodeling

Reducing Grid Dense

With the limited amount of time I have left for this subject and the problems I have with my panels, I realized that having a grid dense that is too high would give me more trouble in the future. Hence, I decided to reduce the grid dense to the amount that fullfils my aesthethic value. The new grid dense that I use is 10 by 10. With this new grid, I think my surface shape looks interesting in a way that it gives this sense of antiquity and at the same time it still represents the thigmonasty process in a Mimosa Pudica plant. Furthermore, I also think that with this new grid my surface shape still looks pretty smooth.

Remodeling

Desired Final Outcome

To solve the problems that had been occuring to my panels, a suggestion came up that I should put a frame to my triangles. Hence, there is that locking system which holds the triangles and the the squares of the triangles. I tried the new panels with the same method (panel custom 3D variable). It was a relieve to see that this new theory had put an end to the series of problems that occurred on my previous panels. There seemed to be no gaps and each triangles look like they are attached to one another.

Precedent Recognition

- A: ABC DBAYEH FACADE ABC DBAYEH FACADE (In construction as of January 2011) - nARCHITECTS. The ABC Dbayeh department store is a Beirut landmark for Beirut’s oldest and most important department brand. The interesting part about this project is that it turns various constraints into opportunities. This project creates a cohesive assembly of disparate parts: four volumes step down the sloped site, terminating in a backlit laser cut aluminum screen on a prominent highway bordering the Mediterranean Sea. Furthermore, waste from the aluminum cut-outs on the westernmost volume is being used as a cladding element throughout the remaining three volumes.

The following precedent and my lantern model has a similar patterns of panels in terms of the asscending opening of the 2D triangular panels. It is also similar in a way that the distribution and the placement of each specific panel pattern for this precedent is completely controlled according to the designer’s aesthetic. To stick with the 3D panels that I want and to have it work, I had to go through a long process where I had to face different problems and tried different methods. With presistence, I was able to turn various constraints into opportunities. I learned that sometimes you have to look things in a different view to able to overcome the constraints and problems which you face. To get my panels working, I had to view my 3D panels through a 2D perspective. After this long process, I was finally able to have my panels to unroll successfully. I think that it is very important to be able to “[turn] various constraints into opportunities” in the world of design with a great presistence.

Remodeling

Panels

The Evolution of Panels

Remodeling

3D in 2D Perspective

In intention to save more time and prevent undesired faults and bugs when unrolling, I created a 2D version of my 3D panels. Although it means more work on rhyno, it will give me more time in the future to fabricate my model and do any changes if needed.