MODULE FOUR: REFLECTION STUDENT JOURNALS SEMESTER 2, 2012 VIRTUAL ENVIRONMENTS
Faculty of Architecture, Buillding & Planning, University of Melbourne
CONTENTS SEMESTER 2, 2012 VIRTUAL ENVIRONMENTS JILLIAN RALEIGH
3
RITA LIAO
32
SHIVY YOHANANDAN
53
HANA NIHIL
77
HUANG SHEN SHEN (APPLE)
99
AUDREY DESIREE ONG AI LI
122
BOHEMIA HOOKHAM
144
CATHERINE MEI MIN WOO
169
DANIEL CAGAROSKI
190
JINWOO JUNG
212
SAYA JUNYAO YE
232
TONY HUYNH
261
XEYIING YE
287
Faculty of Architecture, Buillding & Planning, University of Melbourne
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coral spawn
paper lantern inspired by a natural process/pattern
jillian raleigh
student no. 583168|semester 2, 2012|group 3
ideation & ofdesign conception research & abstraction the natural process growth mechanisms coral growth occurs through several processes: accumulation of calcified polyp ‘skeletons’, and both asexual and sexual reproduction.
coral spawn selected from 3 x initial concepts focused on natural growth phenomena (others: human embryonic development & DNA patterning). an exploration of the science of coral growth revealed a highly complex and intricate process, involving temporal, spatial and geometric patterns at the micro (coral polyp), meso (coral organism) and macro (coral reef) scale. coral organisms emerging 542 million years ago, coral are not single entities, but colonies of genetically identical ‘polyps’ (microscopic spineless animals). structural and geometric variation is generated by the genetic characteristics of the particular polyp species inhabiting the form. growth influences both the growth rate and structural character of coral is influenced by: 1. fluctuations in sea-levels 2. light intensity (photosynthesis) 3. water temperature 4. carbon dioxide concentration 5. pH + salinity, and 6. ocean currents (delivering nutrients)
accumulation polyps receive nutrients through a simbiotic relationship with zooxanthellae, microscopic organisms that photosynthesise in return for a protected environment, allowing polyps to produce calcium carbonate skeletons. growth of some coral species through calcification varies from 2.1 to 3.9cm per year. asexual reproduction coral reproduce asexually through budding (chipping a tiny portion off a whole polyp) or division (halving of a polyp).. missing parts regenerate and the process is repeated.
radiograph of coral growth bands (lighter, wider bands represents low density summer growth & darker, narrower bands indicates high density, winter growth)
sexual reproduction sexual reproduction involves releasing gametes during a synchronous spawning event.. gametes fuse to form planulae, fertilised and micrscopic larva that eventually settle on a solid surface to begin a separate coral colony. coral have evolved to spawn during calm conditions, with reproductive periods varying according to regional wind and current patterns. the date of the spawning event is controlled by the lunar cycle and the time by the solar cycle, not by a ‘circadian rhythm’ (internally determined timing): coral spawn at sunset on the full
growth pattern coral growth patterns are temporal.. or seasonal. rates are higher and the coral structure less dense in summer than in winter (due to increased water temperature and light intensity). the asexual and sexual reproductive processes are chaotic, spurred on by the whims of ocean currents and polyp activity.
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selected natural process coral growth through sexual reproduction.. the natural phenomena with the most potential to create a dynamic and sculptural form, a highly abstracted representation of a spatially chaotic, yet temporally regular pattern. analysis & abstraction ‘spawning’ growth is abstracted by distilling the essential forces of the process and translating the phenomena into graphic form: seasonal fluctuation in water temperature and the corresponding density of coral structure is expressed by the expansion and contraction of the sculptural contours.. spawn events are represented by light emitted by penetrations in the surface.
clay models of concept designs
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ideation &processes design conception exploration of natural & patterns in architecture architectural precedents inspiration for both form and panelling pattern derived from the proliferation of structures by contemporary architects with geometric, dynamic façade panelling, or natural process-based design with organic, curvilinear, asymmetrical & additive forms.
Swanston Academic Building Design Hub
Webb Bridge
Times Eureka Pavilion
Prada Building
Fleet of Putrajaya
‘Brain’ Coral detail
in Melbourne: Swanston Academic Building (RMIT) by Lyons, Design Hub (RMIT) by Sean Godsell Architects, Melbourne Rectangular Stadium (AAMI Park) by Cox, Webb Bridge by DCM & Robert Owen & globally: Times Eureka Pavilion in London by Nex, Prada Building in Tokyo by Herzog & de Meuron, Fleet of Putrajaya near Kuala Lumpur by Hijjas Kasturi. virtual environments
response to module 1 lectures & readings patterns in nature the lectures revealed the complexities of natural processes and patterns – visual & nonvisual, organic & inorganic, spatial & temporal, macro & micro-scale – and explored design informed by, but not literally representing natural phenomena. conceptual design involves ‘sampling space’ (the reinterpretation of natural phenomena, identifying the fundamental phenomena and patterns) and ‘architectural biomimicry’ (a licence to replicate, approximate or misrepresent natural phenomena to a design programme and conform to the realities of fabrication and construction). self-organisation & spontaneous pattern formation Ball, P. (2012): Pattern Formation in Nature “self-organisation”: the forming of patterns within “complex systems” (like organisms or geological formations) determined by the chemical or physical interaction of elements, a process termed “spontaneous pattern formation”.
clay model of selected design
patterns in nature: essentially a result of growth and the “symmetrybreaking of an initially uniform or random system”; the development of an embryo involves the transformation of a symmetrical fertilised egg into an asymmetrical human, or the gradual massing of a sand dune. motivations & principles behind analytical drawing Poling, C. (1987): Analytical Drawing Kandinsky’s analytical drawing reduces a still life composition (“large, simple shapes” – furniture, draped cloth or building materials) to a geometric expression of the structural relationship, or the ‘tension’ between the objects in the frame. analytical drawing aims ultimately to capture the form in a concise motif, and intended to train students to observe the abstract qualities of the basic form, “the whole construction by means of the most concise possible schema”, often hidden or obscured by superficial features. form, function & materiality: influence of context function is the platform of design, determining form and selection of materials. in turn, material limitations impact on both form and function.. form and contexts (of use and resources) equally control design, in an iterative process.
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digitisation design development translation from physical& to virtual
rescaling the model
digitisation process
traced 2D co
translation of the physical model (clay) into a digital model (Rhino) to create a curvilinear surface within the digital environment:
contoured clay model
1. reducing 3D physical model to 2D contours: contour lines traced onto physical model in pencil. model sliced along the contour lines to form segments. 2. importing contours into digital environment: segments traced on graph paper for scale and photographed in plan. image imported into Rhino with ‘PictureFrame’ & traced to form 2D contours. 3. generating 3D digital skeleton from 2D contours: photograph of original physical model imported into Rhino.contours manipulated (‘Move’ & ‘Rotate’) to correspond to contour lines of the image. 4. creating curvilinear surface from skeleton: transforming lines into surface with ‘Loft’ & scaling to intended size with ‘Scale.’ the surface is panelled with 3-dimensional elements composed of flat surfaces, to enable fabrication from 2-dimensional material (paper card).
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design development numerous design possibilities explored, aiming to create an organic, dynamic and chaotic form emulating the coral spawning process: altering the geometry of both the entire form (adjusting contour geometry & loft style from ‘loose’ through to ‘tight’) and the individual panel elements (experimenting with the various grid and panelling tools contained within the program). design considerations relate to the brief: relevance (to the natural process), aesthetic impact of panelling designs, structural integrity & constructability, lighting effects and wearability. images show a selection of forms representing the design alternatives afforded by lofting and panelling tools in rhino: trialling various combinations of the contoured form, grid generation methods and panel geometries..
ontours
orienting contours
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digitisation developed design evolution of design in the& digital environment aesthetics panels inspired by the coral polyp, the tentacle form approximated by polyhedral elements, and by the triangular façade motif of the Swanston Academic Building.. refinement of the panel geometry influenced by constructability and lighting effects. numerous grid and panelling techniques applied to the digital model, including ‘random’ and ‘vector’ grids, and ‘point attractor’ and ‘curve attractor’ panelling methods. structural integrity & constructability built in segments: structurally independent rings accumulate to form a warped cylinder. lantern to act structurally as a sort of elongated dome, with forces thrusting horizontally, contained by the closed circle geometry (in plan).. and vertically, relying on the rigidity of the cylindrical form. lighting LEDs dispersed throughout the lantern, reflecting the spatial chaos and luminescence of the gametes released during the spawning process..
straight loft: initial command run
loose loft: too gentle to reflect the dynamism of the fluctuations in the natural process..
tight loft: more definition.. extreme expansion & contraction structurally unstable/difficult to construct?
tight loft + incre diameter: too u & contraction t of coral spawn
contours 1 + loose loft
40 x 20 ‘surface domain number’ grid, offset magnitude 1
panel #1: dynamic effect, b structurally unstable (see det
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normal loft + lateral displacement of randomised contours: organic, dynamic form, appropriate allegorical representation of the coral growth process. still ugly, but just the right kind of ugly. selected surface.
ease in contour uniform in expansion to express the chaos n. a bit ugly.
but tail A)..
tight loft + randomisation of contour diameter: also too extreme for structural stability/constructability?
normal loft + another randomisation of contour diameter: improvement aesthetically and in terms of relevance to the natural process
contours 2 + tight loft
40 x 20 ‘surface domain number’ grid, panel #2: variation of polyp motif. offset magnitude 1 improved structural integrity..tidier aesthetic with narrower contours and good lighting potential. more dynamic with increased grid complexity?
panel #3: another attempt to improve on #1.. sufficiently perforated for light emission, but too uniform to produce an effect relevant to the randomness of the natural process.. also probably structurally unstable (see detail B). feasible with different grid pattern?
panel #3: with point attractor method (2 points selected at locations representing the spawning period).. variation in panelling has potential for more interesting lighting effects (see detail C), but still too conservative aesthetically and structurally dubious in parts. point attractor method worth pursuing.
panel #4: embellishment of panel #2.. potentially more difficult to fabricate, due to additional surface articulation (see detail D), with no aesthetic gain.. rejected.
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digitisation & developed design contours 3 + normal loft
40 x 20 ‘surface domain number’ grid, offset magnitude 1
panel #5: structurally improved version of panel #3.. panelled on regular grid with 3 x panels and point attractor method. 2 points again selected to represent the spawning period (see detail E).
contours 3 + loose loft
panel #6: hexagonal pattern is structurally unstable (elements attached on 2 edges only). attempt to remedy with octagonal form..
panel #7: octagonal p tructurally viable, with joined on 4 edges. hig form may emit too mu induce the intended e mysterious aesthetic. t rejected.
30 x 20 ‘surface domain variable’ grid (random), offset magnitude 1
60 x 20 ‘surface domain variable’ grid (random), offset magnitude 1
panelling #10: reverting to more basic panel, with random grid pattern.. highly organic aesthetic, embodying the spectacular confusion of the coral spawn process. near-impossible to fabricate..! alter to enable logical construction, but attempt to retain the dynamic form..
panelling #11: reduced grid density and panel complexity to decrease complexity.. point attractor method with 2 x points (see detail E). seemingly fabricatable and constructable. sufficient surface penetration for emittance of light, without loss of drama from too much erosion of surface. selected panelling method.
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pattern is elements ghly perforated uch light to ethereal/ therefore,
detail A: inadequate opportunity for structural connection between elements
detail B: elements attached along 4 edges, but form diagonal strips. panel #8: attempt to reduce the degree of perforation by increasing edges in contact between elements and increasing number of points on the grid.. resulting micro-panelled aesthetic is unappealing: rejected.
panel #9: experimenting with more complex panel with a reduction in grid density. closing the gaps between elements, attempting to improve the potential for dramatic lighting.. no aesthetic advantage with the panel design.. problematic with respect to fabrication (numerous curved surfaces translating to an impractical number of triangulated elements).
detail C: variation in panelling with point attractor method
detail D: surface articulation potentially problematic during fabrication
detail E: points selected for point attractor panelling method circled
h
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digitisation & developed design response to module 2 lectures & readings composition & design evolution module 2 lectures explored composition (form and/or matter within a boundary that is attractive, coherent, ambiguous, representative) and encouraged expression through a single gesture (1 + 1 = 1), hinting at conceptual origins rather than literally reproducing a natural process. the lectures also discussed design evolution.. design as a cumulative process of multi-layered analysis, abstraction of concepts, variation in scale and constant re-evaluation of design concept.
developed digital design
media influencing design material controls the direction of design inquiry. size, structural system, connection details and considerations of material transparency must be suited to the media... the properties of paper card influences the lantern design. abstraction vs. reduction Scheurer, F. & Stehling, H. (2011): Lost in Parameter Space? ‘abstraction’ is the process of transforming reality into an unambiguous digital model & ‘reduction’ is the optimisation of information contained in the digital model.. essentially a similar approach to analytical drawing (the simplification of a complex system). the process of digitising the coral growth concept in module 2 involves both abstraction (translation of the physical model into the digital equivalent) and reduction (refinement of the design according to the boundaries of the digital environment). the demand for highly defined ‘parameter space’ in computer algorithms may significantly alter the resulting design, though not necessarily in a negative manner. the limitations inherent in the digital environment may restrict certain aspects of the design, but the digitisation process may also yield unexpected improvements to the design structurally or aesthetically, through the unintended result of a digitisation procedure, or an unimagined effect allowed by a manipulation of the algorithm. material behaviour computing form Fleischmann, M., et al. (2012): Material Behaviour – Embedding Physical Properties in Computational Design Processes while traditional architectural design approaches prioritise geometry over materiality, computational design methods enables the incorporation of material properties into models, allowing material behaviours to influence the form. similarly, the form of the lantern must respond to the inherent properties of paper card, though no specific structural analysis is applied in the design process. ‘material behaviour computing form’ exists in vernacular construction techniques with natural materials: the Madan tribes in southern Iraq build vaulted structures from reeds, harnessing the elastic properties inherent in the material.. and in modern architecture with modern materials: the ICD/ITKE Research Pavilion in Stuttgart engages the full mechanical potential of plywood, through the digital arrangement of unique elements according to the stresses within the structure.
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prototyping &models design refinement fabrication & assembly of 1:1 prototyping fabricating 1:1 models by ‘unrolling’ triangulated panels elements (‘ptUnrollFaces’), organised into horizontal segments, for laser cutting onto white or black card (200 or 300gsm).. wearability rationale for the placement on the body: choosing to enclose the head within the form is a reference to the complexity inherent in coral organisms paralleling the human neural network (hence the appropriateness of proximity to the brain). the structure is to fit over the head, resting on shoulders. original lofted surface is extended 200mm below the top of shoulders (represented by the construction plane) down the chest and back to provide lateral stability. arches cut from the surface - with ‘project’ and ‘trim’ commands - to fit shoulders (measuring 300mm in breadth and 150mm wide).
prototype 2: actual panelling with geometry adjusted according to prototype 1
prototype 1: simplified grid & panelling for initial prototype testing for fit
segments colour coded and placed on separate layers within Rhino to avoid confusion.
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prototyping & design refinement
prototype 2 rhino files
prototype 1 rhino file
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typical structural anomaly
manually repaired panelling
observations fabricatability panelling pattern generated by the random grid problematic: panels had to be unrolled in small clusters within the segments (automatically unrolling the entire lantern form results in Rhino dumping the panel elements into a jumbled pile).. time consuming to unfold & complex to label for fabrication. plagued by frequent structural anomalies (discontinuities in surface & overlapping elements, particularly along lofting seam) requiring manual adjustment (adding and deleting elements to repair anomalies). persist with the current design.. the aesthetic impact is worth the effort.
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prototyping & design refinement materials masking tape PVA glue + toothpicks stanley knife metal rule cutting mat
partial model of final form
various 1:1 experimental prototypes
prototy trialling body ( cutter)
proxy panelling model with base moulded to fit the body.
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cutting elements free from fabricated sheet
ype 1 g feasibility of placement on (white 200gsm card, card )
folding and gluing elements
prototype 3 trialling structural integrity of panelling + aesthetics (black 200gsm card, laser cutter)
prototype 2 trialling structural integrity of panelling + aesthetics (black 200gsm card, laser cutter)
material consumption: attempted to minimise waste by minimising space between panels... still, a substantial amount of black card wasted: approximately 25%.
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prototyping & design refinement experimentation with illumination lighting lighting arrangement (groups of 1, 2 or 3 LEDs) placed within prototypes and tested for intensity and shadow effects.
connecting LEDs in series, soldering +ve sprig to -ve sprig
materials soldering iron + solder masking + electrical tape 9V batteries + clips 3.2V LEDs insulated wire
wrapping connectio clear tape for insu
connecting independent circuits of 3 x LEDs in series results in a load of 9V (equal to the battery voltage).. no resistor necessary
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ons in ulation
review of prototypes design refinement adjustment of design according to observations made during prototyping process.. an iterative process, involving suspension of commitment to the design. observations structural integrity & constructability prototype seems unnecessarily massive.. compress the lantern by removing contours (not drastically altering the form, just reducing the height) model may not hold selfweight: increase material thickness from 200gsm to 300gsm in lower portion of model to improve rigidity.. more difficult to achieve a clean fold on the smaller segments with 300gsm card than with 200gsm: retain 200gsm for upper portion of model prototype 3 catastrophe: approximately 6 elements missing, lost during the fabrication process. structurally undermining the entire form. more care in labelling and assembly.. (cut and join elements progressively). laser cutting more expensive, but yields a superior quality finish: card cutter prone to rough edges or bent/ripped corners. laser cutting more also precise than anticipated.. decrease space between unrolling segments to reduce waste. lighting single LEDs emit an adequate intensity of light, particularly for prototypes with white card.. but 3-LED clusters provide a much more vibrant effect, again a more appropriate aesthetic for the natural process. white vs black: white card prototypes emit a more diffused light, but joints and exact LED locations are revealed through the material. black card models yield a harsher lighting effect (the material is completely opaque, producing a starker contrast between light and dark), perhaps more dynamic and reflective of the ‘spawning’ process. wearability fit is a little tight around the face: rescale (x1.15) to increase comfort of wearer. sits properly on shoulders, but extension of the form down the chest and back more than necessary.. shorten from 200mm to 150mm. virtual environments
prototyping & &design refinement response to module 3 lectures readings power of making: constraints & possibilities module 3 lectures discussed ‘the power of making’: the philosophical and practical relationship between craft and industrial fabrication methods (Ruskin & Morris’ ideology). increased affordability & access to technology has democratised fabrication, releasing the potential of a broader spectrum of designers through direct control of the process of ‘making’.. designs are perpetually limited by mechanical limitations in fabrication technologies: material and sizing constraints inherent in the available equipment. equality fabrication Gershenfeld, N. (2005): Subtraction; Addition; Building Models. though not strictly ‘equality fabrication’, material consumption is optimised by arranging the 2D elements with as little negative space on the cutting template as possible. other waste reduction methods: sharing cut lines between the elements may to achieve ‘equality’ (drastically restricting the object geometry to a symmetrical or repetitive form).. reducing the physical size or panelling complexity of the design (also limiting the aesthetic possibilities of the design). initial prototyping informed subsequent fabrication attempts: reduced spacing between the elements (with some experience of fabrication tool limitations).. wasted material progressively reduced. the prototyping process proved vital in the production of a unique and complex design. digital design & the division of labour digital modelling and fabrication challenges the division of labour by dissolving the boundaries between conceptualisation, representation and construction. in other words, digital design tools empower the designer and allow involvement in each phase of the creative process. making digital ideas Macfarlane, B. (2005): Making Ideas. In Architecture in the Digital Age lantern design parallels with macfarlane’s digital design philosophy: 1. 3D digital modelling allows the designer to specify complexities of surface and geometry precisely and unambiguously.. traditional 2D documentation methods are unable to fully express the design... 2. working “fluidly with conventional and digital media”, switching from hand sketching to computer modelling and back again throughout the design process. 3. ideas in a constant state of flux and evolution, exploring variations on the original concept right up to the fabrication stage of the final design. event as generator of form interior design for the Florence Loewy Bookshop: creation of an imaginary circulation route (event), modelling on a 3D grid, in turn generating the location of the book ‘islands’ (form)
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design final iteration finalisation & exhibition final design adjustments final modifications, based on observations made progressively during the prototyping process. final digital model
some design adjustments: increase in size (x 1.15) for improved wearability, reduction in height (removal of contours) and refinement of materials to ensure structural integrity, clustering of LEDs to create a more striking lighting effect.
isometric NE
isometric NW
isometric SE
isometric SW
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design finalisation & exhibition fabrication & construction
final fabrication successive fabrication errors: design cut on incorrect paper card (lower portion 200gsm and upper 300gsm, instead of vice versa). mistake threatened to structurally undermine the lantern.. due to time constraints, design re-fabricated and constructed entirely with 200gsm card. lantern consequently less structurally sound than the originally intended, but performs perfectly if worn as designed. lantern adequately supports self-weight if unworn, due to 4 lengths of wire inserted at the base to reinforce the model.
removal of contours
prototype 3 dimensions (removed segments shown in orange).
final design dimensions
joining of panels good result for a
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s difficult at 2 x locations.. a model of 109 segments
electrical tape for wire camoflage
inserting LED clusters near penetrations to create a ‘twinkling’ effect: as the lantern moves/rotates, the LEDs intermittantly shine through the penetrations, invoking the chaotic magic of the coral spawn process
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design finalisation & exhibition lantern completion
finished lantern
front
right side
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back
left side
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design & exhibition manifestation offinalisation coral spawn
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response to module 4 readings Mitchell, W. (2000): Software: New Genius of Place. Mitchell, W. (2000): Replacing Place. form fetches function ‘designing code to generate form’ releases an unlimited potential for functional flexibility in design. integrated into the design of communication devices, transportation systems, medical equipment… the concept has not yet been embraced by designers of the built environment. in terms of architecture, spaces might be programmed to respond to practical considerations (weather conditions, energy availability, occupancy levels) or to entirely aesthetic demands (variable colour schemes and furnishings).. ‘designing form’ may be relegated to the pre-digital era, though the inseparability of structure and materiality from architectural form may maintain the link in spite of technological advances. genius of object a ‘smart, attentive and responsive’ lantern might dim or brighten according to the natural lighting (already a capability of smart phones and computers), switch on as a person enters the room or switch off after a child falls asleep, alter the colour of the light seasonally or in response to the palette of the environment, or adjust surface colour for the same reasons. other features rapidly expand the brief of the lantern (beyond the mere provision of light, to a multipurpose object): Mitchell’s ‘genius of place’ is limited only by the designer’s imagination. ‘smart, attentive and responsive’ in art: the Reef Installation at the Taubman Museum of Art, New York, discussed in a module 2 lecture (the blades flutter according to the movements of viewers passing through the space).. a simple system of responsiveness. http://www.youtube.com/watch?v=X-TSgVT8JxM and in architecture: the Swanston Academic Building in Melbourne (the glass discs of the façade adjust according to climatic conditions, through a computer system within the building).. a more complex engagement with the occupants and the environment.
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reflection review of the design journey realisation of concept the most rewarding part of the journey: the material realisation of the abstracted natural process (& the witnessing of other students’ realisations)... representations appear to be independent, but the design takes a unique, almost autonomous direction (‘a life of it’s own’), stemming directly from the original idea. the concept and the material realisation are mutually dependent: the design relying on the concept for inspiration, and the physical manifestation instilling the idea with fresh aesthetic meaning. challenge & growth several design lessons learnt, pertinent to future architectural studies.. 1. abstraction of natural processes: exposure to huge variety of inspirational sources and methods for deriving form. 2. time, time, time: time devoted to the ideation, development and fabrication phases of the design process pay dividends in the aesthetic and material quality of the final product. 3. presentation: the importance of succinct and appealing communication of design intent.
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inspiration acknoledgement of sources images ‘brain’ coral: http://www.freeimages.co.uk/galleries/nature/underwater/slides/brain_coral_polyps_5002. htm fleet of putrajaya: http://mail2web.com/blog/2008/03/putrajaya-waterfront-development/ prada building: http://www.flickr.com/photos/degi-ichi/4449571988/ RMIT swanston academic building: http://theredandblackarchitect.wordpress.com/2012/08/27/the-redblack-review-swanston-academic-building-building-80-rmit/ RMIT design hub: http://www.seangodsell.com/rmit-design-hub times eureka pavilion: http://www.archdaily.com/142509/times-eureka-pavilion-nex-architecture/imagefinal-a/ words Bauman, A, Baird, A, & Cavalcante (2011), ‘Coral reproduction in the world’s warmest reefs: southern Persian Gulf (Dubai, United Arab Emirates)’, Coral Reefs, 30, 2, pp. 405-413. Fleischmann, M, et. al. (2012), ‘Material Behaviour: Embedding Physical Properties in Computational Design Processes’, Architectural Design, Wiley, 82 (2), pp. 44-51. Gershenfeld, Neil (2005): Subtraction; Addition; Building Models. In FAB: The Coming Revolution on Your Desktop--From Personal Computers to Personal Fabrication, Basic Books, pp. 67-76; 93-101; 103-113. Klein, R, & Loya, Y (1991), ‘Skeletal growth and density patterns of 2 porites corals from the Gulf of Eilat, Red Sea’, Marine Ecology-Progress Series, 77, 2-3, pp. 253-259 Macfarlane, B. (2005): Making Ideas. In Architecture in the Digital Age, B. Kolarevic (ed.), Spon Press, London, pp. 182-197. Mitchell, W. (2000): Replacing Place. In The Digital Dialectic, P. Lunenfeld (ed.), MIT Press, Cambridge, MA, p. 112-127. Mitchell, W. (2000): Software: New Genius of Place. In e-Topia, MIT Press, Cambridge, MA, p. 42-68. Scheurer, F, & Stehling, H (2011), ‘Lost in Parameter Space?’, Architectural Design, Wiley, 81 (4), pp. 70-79.
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Rita Liao Student no: 605490 Semester 2/2012 Group 13
IDEATION
PROJECT BRIEF The project brief is to create a portable lantern that can be worn on the body, hung freely or carried by one person. The lantern should have curvilinear geometry with a panelised surface. It should be fabricated from paper or card (restricted to only two colours: white and black). The form of the lantern should be constrained to geometries possible using untrimmed NURBS surface (distorted rectilinear patches). Typical designs will not be larger than 50cm x 50cm x 1m. The lantern design should incorporate a batteryoperated LED light source, mounted on the support structure or on the body.
My design exploration began with an investigation of various natural processes and their resultant forms, with a particular emphasis on pattern. This involved moving away from what can be seen on the surface and asking questions such as – why do patterns and shapes arise? And – why are things the way they are? By adopting different ways of observing and analysing information – by changing the spatial or temporal scale, or by breaking things down into their constituent parts – we will constantly find simple underlying reasons, rules and patterns behind complexity. Ball (2012) explores this notion of what he calls ‘spontaneous pattern formation’ in nature, by which the patterns are a manifestation – the end product – of a process by which nature determines the best solution for a particular problem through interaction between opposing elements of a system, often with mathematical links. He makes mention of animal markings, sand dunes and the geometric rock formations of Fingal’s Cave as examples of self-organised/emergent structures and behaviours. Other examples might be seen in the swarming behaviour of birds and fish, the structure of beehives, foam bubbles, vein structure in leaves, or the arrangement of petals in a flower. The following design concepts are related to biological processes. I began by selecting three biological structures which have an interesting, somewhat unexpected appearance. Though gaining an understanding of the functions these structures have evolved to perform, I have found that structure and function are inherently linked; that there is ultimately some reason or logic behind these unusual forms.
IDEATION Pollen grains are a vital structure in the reproductive cycle of flowering plants. The purpose of these microscopic grains is to protect sperm cells in their journey from the male flower to the female flower, carried by insects or by the wind. The outer surface layer of pollen protects vital DNA from dehydration and radiation. Once fully formed, the pollen grains are dehydrated before being released, and rehydrate at their destination before releasing their contents to fertilize the flower. While there is no explanation for the diverse forms seen in pollen grains of different species, there is a hypothesis as to why some of these structures are the way they are - namely, to allow the grain to expand and contract without rupturing. In this aspect, the grain structure is analogous to that of a cactus, which also goes through cycles of hydration and dehydration in its lifetime, corresponding with periods of drought and rain. By abstracting this process of expansion and contraction over time, the result is a shape with oscillating curves which grow from small to large, creating a virtual representation comparable to the physical form of a growing nautilus shell.
CONCEPT ONE: POLLEN GRAINS
IDEATION
CONCEPT TWO: LICHEN
Lichens are composite organisms formed by a symbiotic relationship between fungus and a photosynthetic organism, generally algae. The fungus grows around the algal cells and the final physical form of the lichen is determined by the fungus. Lichens can reproduce by both sexual and asexual means - by the release of spores, as well as by a mechanical process where sections may break off to re-colonise in a different location. The lichen’s physical form is fractal-like in nature. Some parts of these structures can be broken off easily and carried by wind or clinging to animals to new locations for new, genetically identical organisms to grow, so that one can become many, the many become many again, and so on. This self-repeating process mirrors that of a single lichen’s growth pattern as it branches out from a central point.
IDEATION
CONCEPT THREE: TUMBLEWEED Tumbleweed is a dried plant that has broken away from the ground and is carried by the wind over the terrain. This tumbling process is part of the plant’s reproductive cycle as the seeds on the plant are scattered over the land through which it travels. As the tumbleweed travels, any irregular twigs and branches may snap off, resulting in a more rounded form - a process not dissimilar to the gradual weathering of rocks, but on a much shorter temporal scale. At the same time, it leaves behind a trail of seeds and other particles, the seed trail allowing new tumbleweed plants to grow and repeat the cycle.
IDEATION
I chose to further explore the concept of tumbleweed motion as I felt that it had the most potential to be developed further by not immediately lending itself to a resolved form. In this series of drawings I have used principles of Kandinsky’s analytical drawing as outlined by Poling (1987). This process of analysis involves three steps: simplification, analysis and transformation. The first step is to represent the object or series of objects as simply as possible on a 2D plane with the use of uniform lines. Here my starting point is the tumbling of a rectangle, representative of the irregular form of the tumbleweed at the beginning of its journey. Secondly, lines are drawn to display the relationship between objects, here- the relationship between each stage of the tumbling motion. Finally, Kandinsky’s method tells us to use only the analytical lines, to focus exclusive on them and elaborate the composition if possible, producing a drawing that physically may not be representative of the original composition, but is representative of the tensions and forces. What I have achieved here in this final step are a series of ribbon-like formations which embody the rhythm of a tumbling movement, and which appear to twist in a manner which echoes the double-helix molecular structure of a strand of DNA.
DESIGN DEVELOPMENT: ANALYTICAL DRAWING
DESIGN
INSPIRED BY: ALBA PRAT
Prat is a fashion designer who creates pieces from rigid materials, yet are able adhere seamlessly to the wearer’s body. I hope to create a form which can successfully respond to the contours of the body in a similar way. A long, ribbon-like shell is the essence of the design I have arrived at. Using modelling clay, these images show how this shell may be draped across the human figure. The viewer’s eye is naturally drawn towards the human face, so I have made this the starting point for the head of the lantern. The lantern continues to weave its way around the collar, over the left shoulder, finally trailing off around the back and waist.
DESIGN DEVELOPMENT: MODELLING IN 3D
Here I have used cardboard to give the geometry of the design greater definition, referring to my analytical drawings a starting point. What has occurred here is that the two most prominent curves have become wrapped around the two shoulders in a bold gesture. The first curve begins upright, as the plant would be standing before it is broken off from its base and lifted by the wind. Then the movement is swept across the collar and rotates over the left shoulder in its second ‘unit’ of motion, driven by the combined forces of wind and gravity. The trailing end is not fully present in this model, however it may be made to continue in a similar fashion.
DESIGN
DESIGN DIGITISATION
In order to facilitate modelling in a digital form, another physical play model was created to reflect only the basic curved, sweeping trajectory of the design, as more detailed geometry could be added later via Panelling Tools for Rhino. Orthogonal images of the model were imported into Rhino 5 via the pictureframe command. This allowed for the accurate construction of a pair of profile curves which could then be made into a 3D surface using sweep2 and ellipse cross-sections. To ensure the design would continue to sit correctly on the wearer’s shoulders, I also imported photos I had taken of myself in orthogonal views. These were then scaled 1:1, and the model adjusted to fit.
DESIGN DIGITAL PANELLING EXPLORATION
From the basic form, a series of variations were generated using the Panelling Tools plugin for Rhino. Experimentation began by using pre-set patterns, later venturing into custom panelling. Different outcomes could be obtained by adjusting the density of the point grid, distance offset, and whether or not attractor points were used to create a variation.
DESIGN
INSPIRED BY: MAST STUDIO Mast studio is a Danish architecture studio with a focus on the exploration of natural forms. This series of images is from a project for an exhibition pavilion. It shows the amount of complexity which may be achieved by a simple repeated pattern generated by computer, though the basic shell is very simple. This effectively means that the design was developed in two major sections: first the shell and secondly the panelling - a principle which informed my design process.
DESIGN PANEL DESIGN: TWO CONCEPTS ONE: Tumbleweed is driven by wind, and I came across these dynamic images mapping wind patterns across the United States. These directional lines could be the starting point for a symbolic panelling design, as seem in the concept sktech showing how the arrows might curve and interlock around each other. TWO: Going back to the tumbleweed concept, I began with the idea of each panel being a separate fan or petal shape which would represent the basic idea of reproduction - of a single plant starting out, branching out to become many. By tessellating this motif, a secondary image of directional arrowheads would emerge from the negative space between the panels, which would be the space from which light could emerge. Making the concept a physical reality was a challenging process. To have it as a 2D pattern might have been more easily accomplished, but an unsatisfactory design solution since it does not have the same movement and dynamism that an extra third dimension can offer. By cutting out pieces of paper and physically assembling and manipulating them into different forms and arrangements, I was able to determine that it would be extremely challenging to translate the concept into 3D while trying to have the panels still attached to each other and/or the base frame on at least a few key edges. In Rhino I also experimented by using different point grids - especially the diamond grid - but again these were unsuccessful. The diamond grid was promising but could not be made to close at the seams. Finally I settled on a compromise- a pattern (highlighted here in pink) which would represent the same idea but in a slightly different way - by having overlapping panels which could be attached on two edges, but still have two remaining edges free to open up and emit light.
DESIGN INSPIRED BY: MAYUKO YOSHIDA CREPUSCULAR The Crepuscular light was inspired by the essences of clouds, sun and wind. Once it is turned on, light will be dispersed through the layers or leaked through the gap of layers. The form of shade could be changed freely to give a variety of patterns of illumination. The lightness and strength of the shade made of tyvek速 allow people to enjoy a subtle gradation of light and shadow in the dynamic movement of form by wrapping the spiral bellows around light bulb cover, and it brings a moment of thinking about their own creation.
Being initially unaware of the concept behind the Crepuscular lamp, I was drawn to the way in which an static object could be composed entirely of straight lines yet possess the kind of fluidity in motion which I had been searching for. It informed the linear folding in my design which I had begun to experiment with, and allowed me to extend that principle further.
+ basic formula: three petal-like panels generated previously are utilised, attractor points to determine how they populate the point grid + consists of surface panelling situated on top of a rigid frame + frame features notched joints; scored along length to allow for torsion + frame is integral in joining otherwise separate panel segments + colour coded for easy assembly + pieces flattened using ptUnrollfaces command + colour coded, arranged and labelled on sheets ready for manufacture: frame to be cut from 3x 600x900mm mountboard, panels from 5x 600x900mm 300gsm ivory card black for cut lines, red for score lines, blue for annotations
FABRICATION
DESIGN PROTOTYPE
FABRICATION
FABRICATION
LESSONS FROM PROTOTYPING
+ Mistake: file had been set up so that pieces would remain attached to mount-board after cutting, notches converted to score-lines. Lesson: would have been more efficient to have cut lines only - notches needed to be cut individually, very tricky and time-consuming. + Mistake: score lines had no effect. Intended to aid the twisting of each strip, however the material of choice did not allow for this. Time and money wasted in redundant manufacturing. Highlighted the necessity of prototying using the selected fabrication process (laser cutter) with selected material (mount board). + Mistake: Frame panels too thin. Set up as 10mm thick, 5mm notches = only 5mm of card holding the fin together. Very fragile and needed to be individually strengthened with tape. Lesson: again, prototyping. The assumption was made following precedents of other students’ work where 10mm fins sufficed, however not suitable here as whole model is larger in scale, featuring sometimes sharp angles; frame is an integral structure for strength - not an optional add-on. + Mistake: Overlapped panels redundant. The template had been set up so that a panel would be duplicated at the point where who segments needed to be joined together. However, instead of having overlapping panels at the cut point, the ends were taped together as having a piece of double thickness was very obvious and unsightly. Lesson: Would possibly have been better to have overlapping piece cut from thinner material, or investigate other less intrusive joining methods.
FABRICATION FINAL DESIGN
Despite the investigation of several other quite complex fixes, the problematic issue of a faulty frame was ultimately resolved by not having a frame at all. The solution is very simple - another set of 2D box panels was generated using the same point grid. This would act as the base to which the surface panels could be attached. Being caut from tracing paper, it would have minimal optical impact and still allow an albeit slighly diffused light to be emitted from the lantern.
FABRICATION CUTTING TEMPLATE
+ Each panel assigned a number - i.e. 6-3 + 6 indicates panel is from segment 6 (of 15) + 3 indicated third piece in segment (of 5) + base panels given numbers to match surface panel
FABRICATION
ASSEMBLY
+ Cut panels ready to be assembled + surface panels attached to base panels + first segments are fabricated + building around internal LED wiring + nearing completion + complete - lighting test
REFLECTION
REFLECTION
For me, the journey of this project from initial idea to final tangible object was accompanied by a steep learning curve. At the core of this experience was the ability to gain a better understanding of the relationship between virtual and non-virtual, between cerebral and generative design, and how these may be integrated into a single continuous process. I discovered that design is not a linear process and that the transition between stages - from abstract to digital to physical form – is by no means streamlined, even though the advancement of digital technology has greatly assisted in this. The step from abstract to physical has always been a difficult one- for something as pure and intangible and indestructible as an idea to somehow become encapsulated or embodied in materiality is a transition from timelessness to the tyranny of permanency. Yet this task is made easier with parametric modelling programs like Rhinoceros. The nature of the Panelling Tools plugin pushed users towards conceptualising in a certain way – of looking at pattern – in order to provide a set of input values that would then be translated or manipulated into a virtual form. This was greatly assisted by the practice of analytical drawing, by which relevant aspects of a concept could be extracted and translated into something unique. The use of different materials to make rudimentary models at this stage led design inquiry into different areas – while cardboard was useful in helping to visualise a desired geometry, it was the malleability of modelling clay which allowed for the development of a fluid, continuous form which could then be translated to a digital language for further refinement. The step from digital to physical state was another stage which required careful attention, with particular emphasis on the importance of prototypes. I learnt through an arduous process that while something might seem to make sense on screen or in your head, it was another matter entirely before it could become a reality for others to experience. While computer software might act as an effective vehicle for designs to be developed and readied for fabrication, it still requires a human facilitator to test and calibrate the steps involved. By definition the virtual world is devoid of physical properties – objects here can exist in unreasonably complex states – have intersecting sections, physically impossible geometries unaffected by the forces of gravity. In fact, they are not really objects at all but merely representations. To bring the representation into the real world requires a degree of common sense in setting realistic boundaries for construction, but also rigorous prototyping to help understand or perhaps redefine these boundaries, which in turn is a form of feedback which becomes reflected in the design. The availability of new fabrication technologies is yet another invisible factor in what may or may not be produced – fabrication technique is a constraint on choice of material, which is in turn a constraint on what is or isn’t possible. The use of only a card cutter/laser cutter restricted materials to be flat sheets of paper or card. Unlike, say, a 3D printer, this type of fabrication required every step in construction to be carefully laid out and tested – how to logically break down the model into pieces and put it together again with minimal effort and confusion. This process – however simplified - may be described as analogous to the process by which a building is be conceived, modelling, engineered and constructed to reality in the midst of different constraints, pressures and requirements of a brief. Overall, I feel that this project has made an invaluable contribution to the development of my design thinking and broadened my ideas about architecture. Not only has it been an introduction to 3D modelling technology, but also an education on the future possibilities that technology continues to make possible, as we move further and further away from the concept of a building as a static object, but rather as an environment which is dynamic and responsive to our needs.
DESIGN
FABRICATION
REFLECTION
• Ching, Francis D. K. (1990): Basic Orthographic Methods. In Drawing- A Creative Process, Van Nostrand Reinold, pp. 146159.
• Scheurer, F. and Stehling, H.(2011): Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 (4), July, pp. 70-79.
• Macfarlane, B. (2005): Making Ideas. In Architecture in the Digital Age, B. Kolarevic (ed.), Spon Press, London, pp. 182-197.
• Mitchell, W. (2000): Software: New Genius of Place. In e-Topia, MIT Press, Cambridge, MA, p. 42-68.
• Gershenfeld, Neil (2005): Subtraction; Addition; Building Models. In FAB: The Coming Revolution on Your Desktop-- From Personal Computers to Personal Fabrication, Basic Books, pp. 6776; 93-101; 103-113.
• Mitchell, W. (2000): Replacing Place. In The Digital Dialectic, P. Lunenfeld (ed.), MIT Press, Cambridge, MA, p. 112-127.
• Yee, Rendow (1997): Conventional Orthographic Terminology. In Architectural Drawing- A Visual Compendium of Types and Methods, John Wiley & Sons, pp. 41-63. • Ball, Philip (2012): Pattern Formation in Nature, AD: Architectural Design, Wiley, 82 (2), March, pp. 22-27. • Poling, Clark (1987): Analytical Drawing. In Kandisky’s Teaching at the Bauhaus, Rizzoli, New York, pp. 107-132.
• Fleischmann, M., Knippers, J., Lienhard, J., Menges, A., and Schleicher, S. (2012): Material • Behaviour: Embedding Physical Properties in Computational Design Processes, D: Architectural Design, Wiley, 82 (2), March, pp. 44-51.
REFERENCES
IDEATION
PHYLLOTAXIS MODULE 4: REFLECTION SHIVY YOHANANDAN | 558316 | Semester: 2/2012 Group 9
PHYLLOTAXIS IDEATION
IDEATION NATURAL PROCESS
Phyllotaxis is the arrangement of leaves around a stem in plants (or more commonly, the arrangement of florets in the head of a sunflower). If we look at a top-view of a typical plant that exhibits this form, the leaves are often arranged so that leaves above do obstruct the passage of light to the leaves below. This means that each leaf gets a good share of sunlight and catches the most rain to channel down to the roots as it runs down the leaf to the stem. This property interested me & is the primary reason why I chose to investigate this process. This arrangement happens to follow the Fibonacci sequence. The golden angle, 137.508, plays a significant role in the phenomenon of phyllotaxis. The golden angle is the angle subtended by the smaller (red) arc when two arcs that make up a circle are in the golden ratio. In terms of plants, it’s the angle that is created between successive leaves around a stem. FAR RIGHT Sample data I gathered from an African violet (Saintpauila sp.). I triangulated the leaf-tips and measured the lengths of the resulting isosceles triangles.
At first glance the arrangement looked like two equilateral triangles overlapping in opposite directions (Star of David).
ABOVE I derived this formula after finding a relationship between the triangle lengths of successive leaves. Y is the longest side of the next triangle in series. I used this formula for creating my form in Rhino.
IDEATION LANTERN CONCEPT
I would like my design to mimic the arrangement of leaves in order to minimize obstruction of the lower parts. A solar tower was my first preference since the leaves could act as unobstructed solar-panels (I was planning on using black for the “leaves”) while the tower would form a sort of straightened-up logarithmic spiral (almost conical). The Lupinus Chandelier (Chandelier Lupine) would be the ideal source for my ultimate phyllotactic lantern design.
I decided to reverse this logic and turn my phyllotactic design into a chandelier. Instead of absorbing light just as a plant would, it will emit light. The design is meant to maximize light distribution as a result of unobstructed “scales”.
For the purposes of this design project I decided to turn the lantern into a wearable head-piece. The full phyllotactic pattern will be best appreciated once I bow my head down until the viewer is in eye-contact with the tip.
I wanted to section the Lupinus Chandelier plant to explore the cup-shaped leaves that would throw light well.
IDEATION PRECEDENTS
Close-up of individual panels shows a bead-like translucent structure which would allow light in and out. I want to recreate this using 95gsm tracing paper.
The panels of the Mangal City skyscraper appear to be arranged phyllotactically around the main structure, which branches into three sub-structures. Their 3D shape was most appealing to me because it means they would diffuse light in an interesting way.
The 2D phyllotactic panel arrangement of the Eden Project educational building model has successfully mimicked the spiral formation that converges at the centre (tip in most cases). The orthographic view of my final design has attempted to mimic this as well. But instead of rectangular (or rhombic) panels I had to settle for tribasic because of the complexity of my shape and form. I had to be mindful of fabrication limitations!
The 30 St Mary Axe is a skyscraper in London and was clearly inspired by the Phyllotaxis scales of a pineapple-like structure. I like how the geometry appears from the side even though my priority is to get the topview correct!
IDEATION CONCEPT TO CLAY MODEL After carefully and meticulously getting my angles right through numerous protractor measurements and sketches, I was able to identify the pattern that needed to be transformed into a more tangible form.
Form and context have a symbiotic relationship. The form generated in phyllotaxis is determined by resources such as the sun, and its use of the sun’s solar energy. Pattern formation in nature, as suggested by Ball, is a result of physical forces that govern everything. Kandisky shows us how to strip-out the form from the context and how to simplify it to its fundamental entity.
LEFT Partial point-topoint polygon of a Chandelier Lupine plant. RIGHT Complete pointto-point polygon of a Chandelier Lupine plant. I then used this data to mould my plasticine model below.
PHYLLOTAXIS DESIGN
DESIGN ANALOGUE TO DIGITAL I removed the leaves because it was going to make the process of contouring and digitization easier.
I used TWO reference points for contouring.
The clay model was segmented in 1 cm slices. The resulting structure was fairly simple and straight forward to use the slicing technique to digitize from a reference image in Rhino.
I then stretched controlpoints after digitizing the clay model to arrive at a more organized form (see images on right).
DESIGN PANELLING & REFORMING
I re-created the parabolic cone (and scrapped the digitized model) in order to maintain a higher level of accuracy since phyllotaxis is very a precise process.
EXPERIMENTING WITH STANDARD 2D & 3D PANELS
I used an in-built Rhino function (Spiral) that takes parameters such as centre, diameter, number of turns, pitch, etc. and let Rhino preview some panelling samples!
A typical plant step has several nodes that twist and bend as the plant grows. I want to introduce this into my design because the phyllotactic arrangement is not a perfect vertical line.
DESIGN FORM OUTCOME
DESIGN PROTOTYPE TESTING
Clay, for example, is great for approximating a design form or concept. It is much more flexible and therefore easy to mould by hand. If the design inquiry is to test out a form then clay would be a good choice. The problem with clay is when you need to modify and refine the design because of deformation. Clay also starts out as a 3D material that can be reshaped. Paper on the other hand is 2D and refinements and modifications are almost impossible because a fold or cut cannot be easily reversed. But paper is an excellent prototyping medium. Software media is the modern media of design inquiry and refinement. Changes can be easily modified and scripts can be executed to automate several tasks. But it lacks the touch and feel provided by other media. Fleischmann’s article on Material behaviour made me realize the diversity of media and how they influence the design.
PHYLLOTAXIS FABRICATION
PHYLLOTAXIS FABRICATION
FABRICATION UNROLLING PANELS Step 1: I grouped the panels in each horizontal segment together and colour-coded them. Step 2: I used the panelling tools Unroll Faces command to unroll one segment at a time. Sometimes I would get overlapping panels which I then had to separate further into sub-strips. Step 3: I used the Grasshopper plugin (GH08X_MakeTabs.gh) to add tabs, folds and cuts to each unrolled segment. When unfolding the model I noticed that the tip had some errors. This might have been a result of non-planar faces created during the lofting phase of the contoured curves. I then got rid of the tip and decided to keep it open at the top because it looked better this way. I initially tried unrolling using a seam but this failed because Rhino refused to unroll regrouped segments.
EXPLODED AXONOMETRIC VIEW (TOP HALF)
FABRICATION TABS & NESTING GENERATING TABS WITH GRASSHOPPER
I used grasshopper to create tabs and score lines. I used the Grasshopper plugin (GH08X_MakeTabs.gh) to add tabs, folds and cuts to each unrolled segment. After some experimentation with the parameters of the MakeTabs.gh plugin I settled for the parameters shown in the screen grab (RIGHT).
AUTOMATIC NESTING WITH RHINONEST
I spent some time researching auto-nesting scripts and plug-ins for Rhino to see if I could get the computer to automatically nest the pieces so as to minimise material (and time) wastage. RhinoNest optimizes position and rotation for cutting and is accessible as a plugin which can be downloaded from TDM solutions from within Grasshopper. RhinoNest can also automatically create labels for each unrolled surface! I nested segments within the recommended 900 X 600 (mm) rectangle(s). At first I used RhinoNest but this didn’t seem to work for me so I ended-up manually nesting to the best of my ability (and patience!).
FABRICATION FABLAB METHOD OF CUTTING Just like the prototype, I used the University of Melbourne’s FabLab to laser cut the unrolled and tabbed surfaces. I decided not to use the card-cutter because I overheard a few other students complaining about its accuracy as well as its poor reputation at keeping cut pieces on the card. I wanted to use mount board but ended-up using ivory card because it was thinner and more flexible which is what I wanted for my lantern. Ivory card was also more translucent and would therefore let more light through. It is a lantern after all! I used the same 95gsm tracing paper as before (for the Mark I prototype) and nested the panels and sent it off to the FabLab for laser cutting.
LEGEND
I marked end-tabs and narrow corners as score lines in order to minimize tearing by the laser cuter as well as to make sure all the pieces remained intact on the card for easier constructions.
FABRICATION DESIGN ADJUSTMENTS & REMODELLING Creating the light-emitting leaflet panel: design-to-fabrication
Unrolled leaflet panel for nesting and fabrication
Tribasic 2D paneling from 3D custom panel Planar curve transformed to best-fit by 3D custom paneling tool
I made the point grid smaller (30 X 20) which subsequently increased the 2D tribasic panels larger. I closed the holes at the tips and replaced them with the custom 3D leaflet panel. 20 X 20
30 X 20 (Final model )
30 X 30
40 X 50 (Mark II prototype)
The tip (and a few joints in the midsection) got cinched & shredded by the laser cutter even though it has a very acute tolerance. The tabs were also far too small for me to glue them manually using my fingers. I also ended-up removing the holes and perforations because I thought they obstructed the overall look & feel.
FABRICATION CONSTRUCTION PROCESS There seem to be fabrication techniques for just about anything now. Classical techniques such as blade, CNC router, etc. have migrated from the past and are still with us today. The modern methods however are innovative to say the least. Computer guided fabrication has taken over many of the volume fabrication tasks. Creating copies of a design for distribution and sale require a more efficient and effective technique in order to minimize wastage and maximize profit. Laser cutting is computer-guided, has a low tolerance and is therefore very accurate. The computer maps from a virtual 3D model into unrolled 2D geometry which is accurately scaled and transferred to the computer. High-powered water jets also make it possible to cut various applications that lasers can’t. Then there’s 3D printing which removes the assembly process altogether by reproducing the entire solid object in its desired form. The constraints are the high costs associated with many of these modern fabrication techniques. Gershenfeld’s article Personal Fabrication really gave me an insight into the almost limitless possibilities in fabrication techniques.
FABRICATION LIGHTING 2 x AA (3V total) battery pack with ON/OFF switch to neatly house batteries.
Standard gain colourcoded copper electrical wire for the circuit.
I chose these batteries because I needed a longer-lasting powersource since I arranged the LED’s in parallel.
9 x 5mm clear 3V 120° LED’s. I chose clear and 120° because it light’s-up a larger volume of the inside of the lantern as opposed to a smaller angle which would focus a narrow beam which is undesirable.
LEFT I decided to arrange the LED’s in parallel in order to minimize the number of batteries required as well as to maximize the output performance. RIGHT The LED’s are spaced along the circuit based on the Fibonacci series. This ensures that light diffuses through the translucent leaflets optimally.
Masking tape for insulating naked connections as well as safety.
PHYLLOTAXIS REFLECTION
This project has taken me on an interesting journey. After spending some time researching my initial natural forms and processes, I became fascinated by the invisible forces that surround us. And being a curious mind, I really wanted to explore what these invisible forces could look like in the form of a lantern. The readings by Ball and Kandisky really helped me understand and analyse a natural process through analytical drawings and sketches. Finally, a silhouette began to form in the back of my mind, and then an idea turned into a form.
PAPER PROTOTYPE I
LIGHT TEST PROTOTYPE
IVORY CARD PROTOTYPE MARK I (1:1)
IVORY CARD PROTOTYPE MARK II (1:1)
IVORY CARD FINAL LANTERN
CROWN OF RA
Design is often a slow, non-linear process that can really test your patience and imagination. While the overall process from ideation to fabrication may seem to follow an algorithm, convincing yourself that your current design satisfies your original concept has many twists and turns. This is when an original concept slowly fades into a newer, more refined design. And then it’s a matter of time and imagination before the original concept has evolved into a satisfactory form. My learning experience throughout this project has taught me that many representations are theoretical and are therefore ideas that we conceive in our minds to try and understand processes. Once we solidify it using materials, these material realizations have defined the representations. However, the material realization is also dependent on the representation because it cannot exist otherwise. I have endured many failures in this process, particularly during the design and fabrication stages. I would spend countless hours in front of Rhino trying to make a form work. The difficulty is also being equipped with a very limited skillset in Rhino to begin with. While your imagination wanders off in search of creative forms, your intermediate, new-found design skills don’t give you such a creative license. This was a compromise that significantly shaped my design solutions. Scheurer’s “Lost in Parameter Space” article kept reminding me that computers can only achieve so much in terms of design and that maybe it was time to construct a prototype and try and investigate a design form that way. I think code, in a design context, is better for automating monotonous tasks that result in speeding-up the process from design to fabrication for example. If we remove ourselves from the design process and leave it up to an instruction-following machine with no imagination whatsoever, we cannot call ourselves designers. There is an analogue element in design that is essential. An advantage of designing code that generates form is that computers that process this code can be much faster at sampling many different designs. On the back of lecture 9, I was tempted to make my lantern interactive. I was really inspired by some of the amazing work by Stanislav Roudavski in his augmented spaces examples. These lanterns would typically have sensors (e.g. sound, motion, light, etc.) as well as mechanical and electrical moving parts. For example, these interactive lanterns can be connected to the Internet and get real-time data such as weather information and shine their light based on the cloud-cover outside.
Additionally, computers are now more than capable of being hooked-up to sensory input systems that measure analogue signals from the surrounding environment. A clever and creative example of this system in action is the Swiss Hotel robot that paints your personalized bio-patterns while you sleep. It relies on motion and pressure sensors connected to your bed! Finally, I would like to say that I have learnt a lot from Virtual Environments and I cannot wait to apply my newfound knowledge in design and process analysis to my other fields of interest. For example, bio mimicry has given me a new source of ideas, where I can look to the natural world for inspiration and innovative solutions. Ball and Kandinsky have given me a new set of analysis, design and sketching skills to realize even the most abstract, invisible concept or idea. I am now familiar with the notion of using a process as a metaphor that I can then translate into a design. Going on to study neuroscience, there remains a lot to be discovered. Biomedical engineering also involves the design and engineering of implantable bio mechatronic devices that have to mimic complex biological systems. The knowledge and skills I’ve acquired in Virtual Environments is very much relevant to designing such complicated and sophisticated organic structures. Virtual Environments has given me a new pair of eyes to see the world and a new pair of hands to feel the world, and for that I am thankful!
MODULE FOUR REFLECTION Semester 2 group 5 Hana Nihill 583814
Ideation Natural Processes
Erosion and Decay These sketches were representative of the natural processes of erosion and decay that I was interested in pursuing as the inspiration for my model. Erosion in particular connotes a journey of particles away from a whole. This idea of a journey in turn connotes excitement and discovery; themes that I hope to bring to my final model. The decay of leaves produces similar visual and thematic references. It was, however, the spidery, skeletal shapes of the rotted leaves that drew me to this process. This creation of interesting gaps and spaces within the former whole is, again, something that I think would be quite nice to bring to my lantern.
Ideation Precedent Inspiration
Peter Zumthor Kolumba Art museum: Cologne, Germany BIG architects Israel Plads: Copenhagen These precedents both evoked the same themes as the two natural processes that I was trying to develop throughout this module. The art museum in particular, directly referenced themes of decay and renewal with the new wall constructed over the crumbling remnants of the old structure. Additionally, the dappled quality of the light referenced the dapple light that penetrates leafy canopies. The BIG architects project was another interesting one. The negative space under the structure was something I interesting.The texture on the pillars was also interesting. It almost looks like a beehive, with the indiviual compartments replicated throughout .
Ideation Concept development
Scale 1:3 These initial sketches and models represent my attempts to come to terms with the concepts of erosion and decay in physical form. I think that this was an important first step in establishing the direction I wanted to take with further prototypes. I particularly liked the ideas incorperated into the sketch and the model in the top left corner. These represented the kind of fragmented light quality that I wanted to have throughout my model. I also liked developing the model of erosion above. The journey that particles undertake in the proccess of erosion was always fascinating to me, however this was the first time I explored the connections between the dissapated pieces.
Ideation Reflection The influence of context on form was something that was introduced at this stage of the course that in turn influenced the conceptual and physical design process. The introduction to pattern formation in nature was particularly interesting. It showed a new way to look at everyday objects and phenomena. Visually looking at invisible things like wind patterns and geothermal sources created interesting patterns. They also created different zones of colour and feeling within the urban context that had nothing to do with building or activity zones. This opens up new potential in creating spaces and experiences outside the norm. This potentiality is explored by artists such as Nick Veasey, with his X-Ray art, alongside the technological pioneers CyArk and Photosynth who have all created new ways of seeing mundane spaces. Similarly, Ball (2012), in his exploration of patterns in nature, revealed that what seems to be chaotic shapes are really self-organized patterns. Considering all of these things makes the study of the everyday world a lot more complex and interesting. When applied to my lantern concept this opens up a great deal more design opportunities. With this repetition of shape, fragile looking forms can be created using fairly harsh geometry. All of these phe-
nomena have been informed or caused by their geographical, political, social or environmental contexts and each has produced unusual forms. It becomes a lesson in perception. The
fact that any given context can spawn new forms reveals potentiality in everything. That inspires the abstraction of natural processes to find new visual inspiration.
Design Initial Digitisation 1. The initial clay model was created at the scale of 1:5 and divided into 1cm sections
2. These segments were then layed out as shown. This image was put into rhino and a series of curves was created, each fitting the measurements of each segment.
3. The curves were then arranged according to the initial model, with 1cm gaps between them.
4. Surfaces were created on the top and bottom curves to make a closed shape. The curves were then lofted to create image 5.
Design Refining Rhino Model 0.5 cm
This was my next effort that built on the first attempts. I tried simpler, more organic curves as well as lofting to a flat surface. This created better shapes which I was able to edit a bit more successfully as seen below. At this stage I was still envisioning a chest piece with a flat top that then reached over the shoulders. That is why the top is flat. This, however, exacerbated the issues with closed lofts. I tried creating a surface from planar curves on the top and then filleting the edges. Due to the nature of the curve, the fillet warped, making that option impossible. Other commands such as sweep rail and chamfer were also tied with little success. Another thing that I wanted to achieve was something with two peaks. Using this method of lofting I could not achieve that.
Design Lofting: a new approach
Based on my unsuccessful experiences with the way I had been going about lofting, I tried a different approach. This was a bit of a breakthrough moment in the process. It seems fairly straightforward, however after so many failed attempts, this was the first shape that came anywhere close to looking like I wanted it to. The main components that I liked was the fact that there were two peaks and the fact that the form was closed and able to be paneled properly. It was created through moving and rotating all the curves into a semi circle shape and then lofting instead of just moving the pieces in a vertical direction. This was also the point at which I though about putting the model around the neck, instead of as a chest piece. The form at this stage was certainly starting to suggest something that would fit nicely around the neck.
Design First prototypes
These prototypes were a great first step. They introduced me to unrolling on a very basic level, and allowed me to do preliminary materials testing. As they were only at a small scale -in rhino and physically- they were able to be unrolled in a single piece. The different uses of black and white paper also allowed me to see which would respond better to folding and general fabrication process. From this I decided on black card for both practical and thematic reasons.
Scale 1:5
Design Materials Rationale The initial prototypes precipitated the choice of 300gsm black card for the lantern. The weighing of the paper was decided for practical reasons. I wanted to be able to have a lot of freedom in the sort of point distribution I chose for the final lantern. This meant choosing a card that would be able to support really fragile, skeletal sections -if need be- yet not appear too bulky in more solid sections. The 300gsm weight fulfilled both requirements, although, in retrospect, the skeletal section of the final prototype could have been cut in even thicker card. The black colour was chosen for aesthetic and thematic reasons. I felt that the black evoked connotations of land and soil. The erosive process was therefore able to be clearly communicated by drastically cutting through the form to reveal the light within. The juxtaposition of the black card with the shite lights, made progressivly more drastic throughout the lantern, is what moves the meaning from a purely natural process to a more abstracted, emotive experience that people can connect with.
Fabrication Prototype One
This prototype was my first experience of having to unroll segments of the entire model. I tried to get the pieces as big as possible to reduce any instability within the form. With this in mind I created the middle panel which I envisioned as a base that I could glue the rest of the model onto. When unrolling however, I found that it had to be separated into lots of small segments in order to not overlap. This made the segment a lot more fragile than I had hoped. longer strips also had to be separated further into single rows of panels. This was something that I carried through to my final prototype because it made the assembly process really simple and straightorward.
Fabrication Prototype One
15cm
This prototype was good. IThe distribution of openings was still imperfect at this stage. I was also still considering a 3D component to put on the back and the sides of the lantern. This meant that the prototype was a lot more solid than I had envisioned. Other areas of improvement were to include, the way it fit around the neck. The current allowance was 15cm when it needed to be 11-12cm. Some positives included the assembly process, which allowed me to experiment with different glues and unrolling methods. I found that PVA produced really clean results and the time it took to dry meant that I could get the placement exactly right. This is opposed to instant dry supergule which gave me no flexibility. Scale 1:1
Design
The ideas behind the precedents that I looked at in this stage of my process mostly had to do with light, and the way that light could be introduced to a space. This was obviously somehting that was becoming increasingly important to my lantern, and the openings in the lantern form.
Precedent Analysis
Cloud Terrace Andy Cao This project fascinated me in the way that it transforms the space. This is partially achieved through the manipulation of the light with all the crystals and the way that you see things through the mesh.
Tree of Knowledge memorial M3architecture The shapes of the tree interested me. The fact that it is a box on the outside with the complex forms on the inside is something I will thoght about with my model
Oxford Street Faรงade (London) Future Systems This faรงade has several interesting components. The texture of the upper section is the most relevant to my project. I like the clear strips through the middle of the blue glass and the way that each panel creates its own individual space.
Design Refelction
I think that this is a good point to reflect on the potential of Rhino and CAD modelling and the use of different media to support different kinds of design enquiries. The exploration of mathematics and CAD modeling by Fabian Schurer and Hanno Stehling (2011) allowed me to gain a new understanding of the principles behind software such as Rhino. Their emphasis on the essentiality of mathematics tied into the week three lecture, looking at fractals and the patterning possibilities that arise as a consequence of them. This has made me start thinking about math’s in a different way; as a powerful design tool. Michael Hansmeyer exemplifies this concept in his algorithms that enable the creation of fascinating shapes. This use of math in computer design has facilitated the creation of outrageous forms, and design endeavours and has greatly changed industries such as architecture, which has moved from physical drawing and drafting to computer modelling. Granted CAD driven design supports very different design enquiries from drawing or physical modelling. This was even seen when moving from clay models to rhino digital modelling. The polarity of the two approaches inhibits any sort of judgement on which is better. I will say however, that the development of digital design has expanded the potential of design inquiries exponentially. Not only has the digital design medium exploded, but many different ways of designing and constructing are being realised every day. One such example that caught my imagination was that of the flying robot tower constructed in Paris. The fact that robots could be programmed to place bricks into such an interesting form is hugely inspiring when designing. It brings into focus the fact that anything is possible. Something that has only been made more true with the continuing development of technology.
Fabrication
Grouping and unrolling
This model represents the culmination of my experimentations in Rhino. The distribution of the points was eatly what I wanted and I was also able to optimise the design to fit around my neck better. Learning from my previous prototype, I elected to unroll this model in circular strips. This worked really well both in unrolling and in the fabrication phase.
Fabrication Assembly
In order to assemble the lantern correctly, it was important to place all the pieces in order after having glued the individual sections into their circular shape. This meant that the pieces resembled the original virtual model, and could be assembled with ease. Other features of the final lantern inclueded the inclusion of the lighting circuit. This was done by cutting a small hole in the soild part of the lantern for the switch. This could become problematic later on when the batteries run out, however it was the most elegant solution for the battery pack. The actual circuit was then hung within the lantern using fishing wire, superglued to the cardboard structure. This assisted with the distribution of light, evenly throughout the internal space.
Fabrication Reflection
“These new tools give us new ways of seeing, new eyes -possibly a new future- almost to the point where one can think digitally.�
MacFarlane, 2005
Much has been written about the technological advances of the twenty first century, and their overwhelmingly penetrating influences in all areas of society. Architecture and design have certainly not been exempt from these changes, indeed these creative industries have produced some of the most tangible examples of technological advancement. CAD software has transformed the way we can design and fabricate products from buildings to lanterns. I think that the constraints of these mediums in terms of construction are negligible compared to their potential. One such example that exemplifies this potential was the flying robot tower constructed in Paris. The fact that robots could be programmed to place bricks into such an interesting form is hugely inspiring when designing. It brings into focus the fact that anything is possible. Something that has only been made truer with the continuing development of technology. Similarly, when constructing the lantern throughout the semester, the fact that it took such a short time to modify the digital model, and then transform it into a set of buildable panels, which were then able to be unrolled made the fabrication process very efficient. The difference that the rhino unrolling -as well as the laser cutting- made was evident, between the construction of the first and last prototypes. The first prototypes which were hand cut were very rough, as opposed to the laser cut final model which was quite clean.
Fabrication Final Lantern
This prototype was great and almost exactly what I wanted. The distribution of the holes throughout the model, created a really good progression from solid to porous, communicatingthe concepts of erosion and decay quite clearly. In this model I chose to put tabs on both sides of the unrolled strips. This meant that the skeletal section out the back of the model was properly supported and the small pieces did not break.
Fabrication
Final lantern lighting effects
The lighting effects of this lantern are really exciting. I love the way that the light moves into the space through the really directional triangular forms of the panels. The distribution of holes also creates a defined graduation between the light and the dark sides of the lantern, communicating a sense of disintegration throughout the shape. The closed side also presents a canvass onto which the light can be projected, this also references the fact that the degredation of the form effects the whole shape, not just certain sections of it.
Reflection
Learning outcomes Virtual environments delivered a wide range of learning outcomes, whose relevance to my future studies and career cannot be overstated. One of the things I found most useful in this subject was the focus on the design process. Much like designing environments –which I took in first semester- virtual presented us with new ways to go about seeking inspiration and what to do once we had found it. In using nature and natural processes as the basis for many of the design we were able to explore function as well as form. The concepts of biomimicry and bioinspiration have engendered a wide range of innovative urban planning, architectural, engineering and artistic solutions to the problems facing the twenty first century. Being able to bring this approach to our own practice was undeniably useful, and something that I know I will be able to bring to future studies and career paths. Additionally the introduction of software to the design process was an essential first step along an architecture or graphic design pathway. Rhino in particular was such a useful tool for producing developable designs. It made so many steps of the process easier. Some of these steps included the production of a paneled form, the production of orthographic drawings and a printable unrolled template. That said, the learning process was perhaps not what it should have been. I feel like I became extremely proficient in all of the tools and steps that lead to the production of my specific model. I perhaps did not take enough time at the beginning to become familiar with the full capabilities of the software. This would perhaps have helped me produce different, more interesting forms. Regardless, I now have a base of knowledge upon which to build. I also feel like this has given me the confidence to learn any other programs that might be required in the future. InDesign and Photoshop were also programs that were useful in the production of beautiful and informative presentations. The introduction to the principles of graphic design, and graphic design software was something that I really appreciated, having never been exposed to it before. I think that the skills that Virtual imparted in this area are significant in any profession. They essentially allow you to present a product or idea in the best possible light. The importance of this was immediately apparent in the module presentations throughout the semester. Also in the presentation of architectural plans to clients and developers. The concept also underpins the multi-milion dollar industry that is advertising. Given its significance, I think that the skill I have learnt in this area are certainly ones I will carry into the future.
Reflection
Representations and material realisations The relationship between representations and material realizations is something that has been explored throughout the duration of this semester. It is a relationship that is informed by context, design medium and well as materials themselves. The idea that representations are informed by their material realizations –and visa versa- was first introduced in module one, were natural processes were analyzed and abstracted in order to find inspiration for the lantern. Essentially the abstraction process involved new ways of realizing the same representation or concept. This process produced myriad representations. At the initial stages of production, these representations populated the world of the imagination. They were purely thoughts or concepts or quick sketches of outrageous forms that had no grounding in practicality. At this stage there was evidently no link between the representations and materials. Introducing this link with the production of clay models, created a great deal of frustration in my. The extent to which the clay material limited the conceptual representation was ridiculous. I felt like I had such limited control over the medium that it was impossible to produce the shapes I wanted. I did not allow this to feed back into my design process that much, however it raised questions about the usability of not only physical but also digital mediums to produce representations. In putting my model into rhino, I went through a phase where I just could not create what I thought I wanted. I subsequently had to completely alter my approach and somewhat change the form. Physically making this form in cardboard was not a limiting experience given that the technology allowed the exact replication of the computer model. Limitations came in when trying to create porous effect I wanted throughout my model. The cardboard kept falling apart, detracting from the overall look of the lantern. I keep talking about the limitations of material realization, however I think that there is great potential in the relationship between materials and form. Instead of limiting design, practical parameters can create really interesting, innovative design solutions that are functional as well as beautiful. Be it art, architecture or interior design, materials have the potential to change everything. They can even become the inspiration for a space or form. I do think that mastery of the medium is essential though. Without it all the possibilities cannot be acknowledged, and you will end up with something that could always have been better.
References Rose Ethrington 2009, DeZeen Magazine, viewed 1 September 2012, http://www.dezeen.com/2009/11/13/memorial-for-tree-ofknowledge-by-m3architecture/ Andy Cao 2012, Perrot Studio, Los Angeles viewed 1 September 2012, http://www.caoperrotstudio.com/en/portfolio/dumbartonoaks.html Rose Ethrington 2009, DeZeen Magazine, viewed 1 September 2012, http://www.dezeen.com/2008/11/21/367-oxford-street-byfuture-systems/ Scheurer F & Sterling H (2011). ‘Lost in Parameter space?’. IAD: Architectural Design. vol. 81 no.4 pp. 70-79 Fleischmann, M., Knippers, J., Lienhard, J., Menges, A., & Schleicher, S. 2012. ‘Material Behaviour: Embedding Physical Properties in Computational Design Processes’. Architectural Design vol.82 no. 2 pp. 44-51 Macfarlane, B. 2005. Making Ideas. In Architecture in the Digital Age, B. Kolarevic (ed.), Spon Press, London, pp. 182-197 Mitchell, W. 2000. Software: New Genius of Place. In e-Topia, MIT Press, Cambridge, MA, p. 42-68
Module 4- REFLECTION
HUANG SHEN SHEN @ APPLE Student No.: 551099 Semester 2/2012 Group 13
Module 1 - IDEATION
NATURAL PROCESS: SNOWFLAKE FORMATION
The process behind that
forms the
symmetrical 6-sided
pattern of a almost
snowflake really is something that is hard to believe and understand. Snowflake is famous for its unique shape that has 6 branches emerging out from a hexagonal plate in the middle. How do water droplets, dirt and suspended impurities in the air form into something so unique and delicate? This is something that interest me the most among all the other natural processes. It is stated by scientist that the 6-sided structure reflects the molecular structure of water that was crystallised under a cold temperature.
What fascinate me the most is how the each 'facets' (hexagonally arranged water molecules) are formed. How each arm that branches out of the corners turn out to be so detailed when being observed under the microscope.
THE FORMATION OF SNOWFLAKES Microscopic dust particles in a cloud
Dust particles, water vapour and impurities condenses and bond to form hexagonal lattice formation
Plate grows into a prism. Facets grow at a different rate under different condition.
Arms grow out of corners due to instabilities. More detailed pattern is created on arms due the its faster rate of growth compared to the facets
More plates are formed under different conditions again. More arms branch out of corners due to instabilities of the plates again which create the more complex look of a snowflake
NATURAL PROCESS: SNOWFLAKE FORMATION
When the snowflake faces with different condition, arms will branch out to gain stability. This brings the idea of fractal geometry introduced in lecture.
Snowflakes do not only consist of almost symmetrical star-like pattern. Under different conditions, snowflakes can be appeared in needleshaped form or in plate-form. Humidity is the largest factor affecting the shape and pattern of a snowflake. Diagram above shows the different types of snowflake formed under different level of humidity. Self organization behaviour introduced by Ball (2012) related to how snowflakes are self organized in forming different patterns in order to withstand the different level of humidity in in order to gain stability.
NATURAL PROCESS: DEVELOPMENT
The Metropolitan Museum of Art, New York designed by Tomas Saraceno has inspired me that even a simple geometry can be formed into something abstract and unique. Also, giving me ideas for the lantern on how to build a 3D model using one simple geometry. This building Is called “cloud
city� and the name reflects to how snowflake are formed. The shape also represents the bonding of molecules to produce a hexagon shaped facet.
I have decided to explore on the formation of snowflakes and the
growing process from something small as a dust to a fully developed shape. Used Kandisky's concept (Poling: 1987) of analytical drawing from
underlines ideas that can be found in a simple object or geometry by focusing on the tension lines and focus point of different shapes Poling(1987) to draw more
Dust Twsiting represents the combination of different elementsas snowflake fall Analytical drawings.
Growing of snowflake from a smaller hexagon to bigger hexagon
Besides that, using different point of views to view the patterns introduced in lectures also helped in developing my final concept.
DEVELOPMENT: CLAY MODEL
Developing from the natural process, I explored on how to show the twisting effect of a snowflake forming in my model.
I started to think how the model would be placed around my body to show a better representation of the falling process as well as the process of it growing from a dust to a fully formed snowflake.
FINAL CLAY MODEL
Module 2 - DESIGN
DIGITISATION: CONTOURING AND DIGITISING PROCESS
Contouring process
Refinement of lofted model
I realised that it is very difficult for Rhino to loft two different curves at the same time and thus, I remoulded my final model into one solid piece thinking it would be easier to digitise. Although I managed to digitse the solid clay model, I had trouble with the size and trying to fix the twisiting effect into my model. And this is because I did not understand how Rhino works and how it functions.
This reflects to the reading by Scheuer & Stehling (2011)
it is important to understand the functions of a programs because every move is very precise and details and it is essential to plan out the steps needed to be taken when using a program. that
DIGITISATION: DEVELOPMENT
Figure 1
Figure 2
Initially, I was facing difficulty in trying to attach the 'head' and 'tail' together as shown in figure 1. After getting some advice from my tutor, I was being suggested to change the position of the contour lines in order to allow it to loft from the bottom of one 'tail' up to the 'head' and back down the other 'tail' as shown in figure 2.
Figure 3
Figure 4
After trying that method, I managed to create my model in one surface but I was facing problems with the scale and position of the model around my body. Thus, using 'pictureframe' command, I readjusted my model until the control points as shown in figure 3 and 4.
Orthographic view of the final model
Top view
Front view
Side view
Back view
PANELING: BASIC 2D AND 3D PANELINGS
After I've managed to get a nice and smooth surface for my model, I moved on to trying out the basic paneling options on it. I was surprised at how different it looks after the panels are on it. I've tried the box, diamond, and also some 3D panelings like pyramids. After that, I explored with the 'offset border faces' command to put holes in the panel to give it a complete look Paneling tools has provided me an insight of what my model might look like and has given be a starting point in developing my lantern.
PANELING: PRECEDENTS
Mobius Strip by Henry Segerman
Using the natural process that I've chosen to explore in Module 1 (snowflake), I began to look at different types of paneling that is able to represent the natural process.
From the lecture by Dave (2012) on how patterns can be looked at in different scales, I began to explore the shapes that form snowflakes from a very small scale to a big scale.
At a close distance, spikes and needle-like shapes can be seen in a snowflake. In a larger scale, its form is bounded by basic geometry shape.
PANELING: DEVELOPMENT
Developing from the precedents and idea of looking at different scale,I have looked at how the model can bring different shapes into one panel to form a different perspective and composition. Inspired by Selenitsch
(2012), he talks about how abstraction and perception is important in a composition due to different culture and ideas adapted by people and this draws me to look at different composition and how different shapes and patterns can exist within a geometry.
Looking back at growing of snowflake pattern, I have decided to merged the two components together to show the process Through Rhino, I have explored with many different tools and options that can be used to develop my ideas. However, I needed to make sure that my design in the virtual world is applicable in reality at the same time.
PANELING: PROTOTYPES
I have built prototypes of different panels that I have developed earlier on. Using different colour and density of papers, I began to test the structure of the materials and also the shadow they would cast under different density of light. I've decided not to use black because I want to emphasize on the flow of snowflakes formation and do not want to bring a contrast to my model
Through building prototypes using different materials, I have learnt that materials
are the substances that form our virtual model in reality. And it is something really important in order to form a rigid and stable model. (Fleischmann et al. : 2012)
FINAL MODEL: ORTHOGRAPHIC VIEW
Top
Front
Side
Back
Module 3 - FABRICATION
FABRICATION: UNROLLING FACES AND TABBING
To begin with fabrication, the first step was to unroll the panels of the model. I have decided to unroll the 'head' and the 'body' in strip form while unrolling the 'tail' in a twisted form. After solving the problems faced with unrolling the faces, I coloured the strips in different colour so that it is easier for me to identify the pieces during construction. After that, I added the tabs manually using Rhino. I tried using Grasshopper but it did not work very well due to the tiny incisions in between the panels and also the shape of the strips.
FABRICATION: NESTING
After unrolling all the faces, I used the “ptTagObjects” command to apply tags on each each of the panels for easier construction process as well. I also started to label each unrolled panels to prepare for cutting. To prepare for fabrication using the laser cutter, I assigned each line to its own group in specific colour (cut-black, score-red).
I nested the panels as close as possible to maximize the use of the material and not wasting them. This is reflected through Gershenfeld (2005)'s idea of”equality fabrication” as a process without waste.
PROTOTYPE: CONSTRUCTION
For the partial prototype, I tested one two areas which I thought would be the difficult areas.
I wanted to test of the stability and how different materials would work.
Partial Prototype
These two parts are quite stable although I was testing out with a slightly thinner material as compared to Ivory card. Sadly, I did not test the 'head' part and because of this, some problems are faced during the construction of my full scale prototype.
As mentioned by Loh (2012), it is important to try every part of the model and not assume that some parts would work better and ignore the process.
Full Prototype
I began to construct my prototype from the head to the tail and connect them in the end. Through this process, I began to understand what is the best way to construct it to have minimal flaws and mistakes. Learning from Loh (2012), I began to take take notice of how the materials would work under different conditions and what ways that I can do to obtain a greater result in my final model. + Issues found: - strength of material for the 'head' part – decided to change to 300 gsm white card for the final model - unnecessary tabs need to be removed - connection between tabs needs be neat and precise - burnt marks resulted from laser cutter did not leave a nice and smooth model
LIGHTING: PRECEDENTS
Figure 1
I was drawn to look up for a few precedents that shows different patterns forming through overlapping of shadows. Position and number of light source is really important in forming the shadows portrayed through shapes.
Figure 2
Precedents above represent the effect of overlapping shadows casting under different position of light and also depended on the shape of the objects.
As shown in figure 1, although the surface is only made up of the same pattern, because of the twisting effect is has, different shapes are formed in the shadows when they overlap. The Hyphae Lamp in figure 2, the idea of mimicking the natural process of circulatory systems and tree leaves is represented not only through the objects but the shadow it brings out.
FINAL MODEL: CONSTRUCTION
I have decided to use paper cutter for my model because laser cutter leaves burnt marks on the model. I want a cleaner outcome to show the smooth effect of my natural process (snowflake falling). This reflects the concept of “understanding the technology we are using� introduced by Roudavski (2012) in the lecture.
It is important to know how a technology works so that greater outcome can be produced in a design. Each technology has their own advantage and disadvantage and it is up to the user to gain a better understanding of it.
I started to build the final design after fabrication is done. Similar with the prototype, I built each part separately and only connect them in the end. But in the process of building the model, I set up the lighting so that it is easier to modify. As observed from the building of prototype, issues such as tabbing and how the panels connect must be neat and precise. After readjusting the tabs and by making sure the problems I faced earlier are fixed, I did not face with any problems during the construction of the final model. I have decided to place the LEDs at the 'head' and 'tail' to focus on the difference in scale of my natural process.
FINAL MODEL: REFLECTION
Prototype on the left.
My final model has shown the process of snowflake formation indifferent scales and level. Through the focused of lights casting through both the 'head' and 'tail' of the model, it managed to bring an emphasize on its transformation from a dust to a fully shaped snowflake. Besides that, how the model is twisted around the 'body' and 'tail' also bring the significance of a falling snowflake.
From the process of fabrication, I began to understand the power of technology and this reflects the lecture presented by Roudavski (2012) where he talks about how technology affects and changes our design when technology has become more advanced. It is important to know how different technology works and know the advantages and disadvantages we can
“program or to be programmed� strikes me the obtain from it. The phrase
most in this context and I find it really applicable when I first started using Rhino. Without knowing how the program works, I struggled quite a lot with it and tend to only work with what I know. After plenty of exercises and understanding how it functions, I managed to bring the outcome that I want to in my design.
Through process of building the prototype, I began to understand how different material works, how technology works and how i might do things differently in the virtual world to have a better model in reality.
As mentioned in the lecture by Loh (2012) and reading by Fleischmann et al. (2012), prototypes are the bridge between the virtual world and the final design in reality.
Final design on the right
From MacFarlene's (2005) reading, it is shown that ideas can be projected virtually and although challenges are faced due to lack of information, it in fact helped the designers to be more innovative and creative in solving the problems. Similar to the process that I went through, with the help from Rhino and fabrication, I was able to explore greater opportunities in my design and produce a model that I would never have made without these technology.
SUBJECT REFLECTION This subject has opened up a door for me to experience the wonders of technology and has set a starting point for me as a designer. From model 1 until now, I have been constantly engaged with new knowledge and understanding of the virtual world. I find it really interesting how everyone's lantern can be so different from each other just by developing through natural processes. Mimicking natural processes is something that I have learnt to be very useful because of how things can be seen in so many ways based on what we understand. As a part of nature ourselves, it is important to understand our environment and they are the best example that we can learn from. When we learn about nature, it involves not only through art but science, mathematics and technology as well.
Photo credit: Catherine Woo
One of the most helpful part of this subject was the lectures and readings provided. Not only did they provide new perspective to me but has helped me to generate more ideas and look at things in different ways. Besides that, learning from one another is also essential part of this subject. Seminars that surrounded by great friends and tutor were very relaxing and provided me a interesting learning environment. Through this subject, it has shown to me the things that seem impossible can be achieved. With the help of technology, the development of virtual world has brought upon great wonders beyond what human can do. From the last lecture and readings by Mitchell (2000), I have learnt that there are so much potential that can be developed through the growth of computer programs like Rhino. I believe that the virtual world can help us do things that we are not expected of. As the world develops, greater things are going to be built and continue to inspire us in the design world.
Photo credit: Catherine Woo
In conclusion, design never stops. It is an on-going process that every designer should appreciates. Learn, understand and connect with the virtual world as it can bring more wonderful art into this world.
REFERENCES Module One Ball, Philip (2012): Pattern Formation in Nature, AD: Architectural Design, Wiley, 82 (2), March, pp. 22-27 Poling, Clark (1987): Analytical Drawing. In Kandisky’s Teaching at the Bauhaus, Rizzoli, New York, pp. 107-132 http://www.asf.alaska.edu/program/gdc/project/alison/science/snow http://sinearch.com/ http://likeflowersandbutterflies.blogspot.com.au/2010_11_01_archive.html Module Two Fleischmann, M., Knippers, J., Lienhard, J., Menges, A., and Schleicher, S. (2012): Material Behaviour: Embedding Physical Properties in Computational Design Processes, D:Architectural Design, Wiley, 82 (2), March, pp. 44-51 Scheurer, F. and Stehling, H. (2011): Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 (4), July, pp. 70-79 Dave, Bharat. 2012. Design Practices. Presented at University of Melbourne at 27th August 2012 Low, P. 2012. Material Spaces. Presented at University of Melbourne at 13th August 2012 http://forums.cgarchitect.com/15503-new-moebius-ring-torolf-17.html http://inhabitat.com/hwkn%E2%80%99s-massive-spiky-wendy-pavilion-coming-to-moma-ps1-this-summer/ http://inhabitat.com/3500-spiky-plant-filled-vases-clad-the-firma-casas-walls-in-brazil/ Module Three Dave, B. (2012). Design Practices. Presented at University of Melbourne on 27th August 2012 Feischmann, M., Knippers, J., Lienhard, J., Menges, A., and Schleicher, S. (2012): Material Behaviour: Embedding Physical Properties in Computational Design Processes, D:Architectural Design, Wiley, 82 (2), March, pp. 44-51 Loh, P. (2012). Fabricating Spaces II. Presented at University of Melbourne on 10th September 2012 Macfarlane, B. (2005): Making Ideas. In Architecture in the Digital Age, B. Kolarevic (ed.), Spon Press, London, pp. 182-197 Roudavski, S. (2012) Augmented Spaces. Presented at University of Melbourne on 1st October 2012. Scheurer, F. and Stehling, H. (2011): Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 (4), July, pp. 70-79 http://dornob.com/design/furnishings/lamps-lights/page/2/ http://inventorspot.com/articles/zen_and_the_shadow_art_of_the_riddled_table_17001 http://dornob.com/biomimicking-lamps-celebrate-the-beauty-of-natural-design/ Subject Reflection Dave, B. (2012). Lecture 10. Presented at University of Melbourne on 8th October 2012 Mitchell, W. (2000): Software: New Genius of Place. In e-Topia, MIT Press, Cambridge, MA, p. 42-68 Mitchell, W. (2000): Replacing Place. In The Digital Dialectic, P. Lunenfeld (ed.), MIT Press, Cambridge, MA, p. 112-127
MODULE 4 Audrey Desiree Ong Ai Li 566116 Group 1 ENVS10008 Virtual Environments
IDEATION
Victoria Amazonica
The search for inspiration from nature began by considering three different aspects of the natural environment; animals, plants and abiotic components. Reviewing these different aspects of nature provided a better understanding on how they vary in terms of the processes that they undergo. Thus, picking a natural process to draw inspiration from was made only after exploring a wide range of options. The first natural process examined was the growth of the Victoria Amazonica. This plant species is the
Bat in flight
most successful at characterising floating plants due to it’s size and vulnerability to it’s environment. Potential patterns for adaptations in design could be observed in it’s modular structure as well as it’s growth process. Next, the flight of a bat was chosen as the object of focus within the animal kingdom. Bats are the only mammals that can fly. Flight is a natural process that exuberates more energy compared to growth processes as it happens in a fraction of the time with movements that can be seen by the naked eye. Processes that precede and result from the flight of a bat provide opportunities to
Inspired by nature
Glacial Cave
interpret patterns both individually or in conjunction with each other. Finally, the physical environment of glacial caves was studied in terms of their formation. Like most geological processes, the formation of glacial caves is slow and unpredictable due to the many influencing factors such as temperature, direction of wind as well as the presence of dust and debris. If looked at more thoroughly, this concept of influenced formation could have contributed to a wide array of design possibilities.
IDEATION
Pattern searching
Time lapse of bat in flight
Pattern interpretation of bat’s wing movement
However, for the purposes of designing a lantern that related to the body, the concept of a bat’s flight was the most intriguing. It provided opportunities to compare the human form to that of a bat and could be used to reflect the agility of the body. The bat’s echolocation of objects and flight work hand in hand. Echolocation is one of the preceding factors contributing to the pattern of a bat’s flight. On the other hand. the airflow left behind by the unique movement of the bat’s wings is a resulting factor of it’s flight. This was an interesting consideration because a bat’s wings are made of membranes that cause turbulent airflows unlike the feathers of birds that allow air to pass through.
Pattern interpretation of bat’s echolocation signals
Form inspired by the echolocation signals of many bats
In one of the assigned readings, Kadinsky’s drawing method was outlined. Doing Kadinsky drawings changed the way patterns were drawn from the processes being studied. These kind of drawings are representations of the constructive elements of what is seen; the tensions that are aparent when examining their logical construction (Poling 1987). Thus, the point of the exercise was to highlight aspects that would otherwise have been ignored, increasing the detail and abstraction of the interpretation and producing a design posibility that contains more than just the surface level of information.
IDEATION
From concept to form
Airflow pattern resulting from flight of a bat
Sketch of airflow pattern
“A model by definition is always an abstraction of reality. Building a model means reducing the infinite complexity of the real world to a level where it can be described with managable effort�. Modeling begins by collecting data but a good model requires the exclusion of inconsequential information (Schuerer & Stehling 2011). Thus, focus was given to just one aspect of a bats flight in order to communicate information more concisely. The pattern in the air flow left behind by a bat in flight was favoured in the search for dynamic interpretations of this natural processes.
Plasticine model of form
Sketch of form
The airflow pattern characterised both the predictable and the unpredictable in the natural process of flight. The creation of a form from this concept was greatly aided by the use of plasticine models because drawing out the air-flow pattern on paper was difficult and resulted in some of the fluidity of motion being lost in quick sketches. Plasticine allowed for quick manipulation and smoother curves. Nevertheless, sketches were necessary to get a good visualisation of the light and shadow effects of the form.
IDEATION
Final form
Sketch of model (Back)
Sketch of model (Front)
The form based on airflow was characterised by folds that corresponded to the body, especially the shoulders and the arms which are comparable to wings. The top of the model represents the physical bat which then progresses into a softer shape representing airflow.
Plasticine model (Right)
Plasticine model (Left)
Plasticine model (Front)
IDEATION
Final form
Refined model (Top)
Refined model (Front)
Refined model (Back)
After further refinement of the form, the upper and lower ends of the model were shaped based on a bat’s roosting and landing respectively. Bats roost upside down at high locations which is relfected in the portion of the model that extrudes upwards above the head and the lower portion represents the flipping motion of the bat as it lands.
Refined model (Right)
Refined model (Left)
The consideration of natural processes has brought forth the idea that patterns in nature can be mapped according to the change in their forming factors. Many of these changes follow a set formula creating a relationship between mathematical concepts and patterns. Additionally, with today’s technology we have the means to apply this concept on smaller or larger scales revealing patterns that were once hidden. In addition to drawing inspiration from their aesthetic beauty, patterns in nature provide an insight into the most efficient systems known. Therefore, the choice of a bats flight as inspiration was also in acknowledgement of the possibilities of it’s application in aerodynamic technology, currently being researched.
DESIGN
Digitising methods
Tracing profile curves
1st set of sections
Lofting between sectional curves without profille curve
The digitising stage was the most challenging due to a lack of experience in digital 3D modeling. Rhinoceros, being a powerful 3D modeling tool, needs familiarisation in order to achieve desired results and more often than not, the design was slightly altered due to limitations in knowledge of how to achieve certain alterations on the rhino interface. However, perseverance and patience saw basic skills and consequently the 3D model improve in quality and detail. A close relationship between the physical and digital forms was observed and acknowledged when taking care not to lose details of the model in translation.
2nd set of sections
Following the guides provided, several attempts were undertaken when trying to digitise the plasticine model created in the first module. The first attempt involved tracing profile curves by referencing orthogonal pictures of the plasticine model, arranged and scaled to the appropriate size in the rhino interface. However, the design of the model involved several angles that could not be interpreted by simply tracing profile curves. Nevertheless, experimenting with this method of digitising provided insight into the detail of the model that needed particular attention such as the orientation of each fold of the model. In the second attempt, tracing sectional slices proved to be a more successful method in translating the basic shape of the model but the sectional slices that were traced were cut too thick, resulting in a loss of detail and smoothness. Additionally, the angles of the model were again lost because there was no guiding profile curves when arranging the traced sections. Lofting between these curves was then pointless because the shape of the model was lost.
DESIGN
Profile curve with control points and orthogonal images
Sectional curves arranged according to profile curve
Digitised model
Lofting between sectional curves (mid-section)
Drawing from the experience gained during the first two attempts, successfully digitising the model required a joint method of tracing sectional slices and arranging them based on a profile curve. The sectional slices were cut at smaller intervals to reduce any loss in detail. The traced curves were then arranged and snapped to points on a curve running down the center of the model that served as the backbone. The slices were then manually rotated to face the right direction in reference to orthogonal pictures. After lofting between these curves, reducing the number of isocurves on the surface made the model neater without losing too much detail. Thus, the method used to translate and alter designs is an important consideration as it dictates the amount of detail and accuracy that can be achieved. However, the process is not so rigid that it doesn’t allow improvisation such as was carried out during the digitisation of this model. On the contrary, it provides opportunities to be innovative. Lofting between sectional curves (whole model)
DESIGN
2D Paneling Experiments
Experimenting with paneling tools
3D Custom Paneling Experiments
After experimenting with different 2D and 3D panels as well as finned edges, the final model was formed as a combination of the three. The ends of the model which represented the physical bat consisted of custom 3D panels and the exposed ribs in the center represented the lightness of air. The 2D panels between the ribs and Patterns in nature generally have structural characteristics (Ball 2005). This idea was a reminder to the 3D panels served as a transitory state between the consider the distribution and size of the panels from a structural point of view to ensure that the model ‘bat’ and the ‘resulting air flow’. would be strong enough in relation to it’s own weight and orientation. To a certain extent, letting the The 3D panels were designed to be angular as an technology dictate the population of the panels achieved an effect that would have taken too long interpretation of a bat’s profile curve. The borders of to design manually. Complex shapes are best handled in the digital form which is now becoming an the 2D panels were offset according to point attractors integral part of design and communication processes (Schuerer & Stehling 2011). resulting in larger perforations closer to the mid-section The panels were also designed to make use of the lighting and shadows cast as representations of the to show a gradual shift from solid to fluid. natural process in addition to the panels themselves. The design of the panels were then the key to making the model ‘information rich’. Creating panels on the surface of the digitised model was the next step. It was interesting to experiment with populating panels across the surface based on the position of point attractors and varying point grid sizes. Changing just one of these governing factors could greatly alter the way the panels were populated across the surface. Aspects such as the sequence, distribution, structure and progression of the components were taken into consideration when creating panels as a new layer of patterns.
DESIGN
3Du
Three components
3Dl
2Du
3Du
R
2Dl
2Du 2Dl
3Dl
R
Desinging processes can be based on a range of media. In relation to natural processes, principles such as basic forms, growth processes, balance between forces and strong driving forces that produce a change in the entire pattern are some of the possible approaches to nature inspired design (Ball 2012). Human social systems can also be considered a medium for design and as technology progresses, science and maths contribute more and more to the process. Each medium reponds to design inquiries in different ways based on what the designer is searching for.
DESIGN
Edges of ribs and 3D panels not in line
Deleting 2D panels
Resolving issues regarding the panelling was a tedious process as each joint had to be checked to ensure none of the panels were overlapping or missing. They had to be manually fixed by deleting or adding surface by surface. In places where the 3D panels and the ribs met, the edges did not line up. To resolve this, the ribs in these sections had to be deleted individually. Since the model was a combination of 3 components, after being populated across the entire surface of the model, unwanted panels from each set, 3D and 2D, needed to be deleted individually while crossreferencing to each other. It was easy to accidently delete both types of panels in one section leaving a hole in the model so sometimes surfaces needed to be rebuilt. The notching of in the ribs also had minor issues in that at the ends, the horizonal ribs and structural ribs stopped short, halfway through a notch. This meant that the ribs would not fit together at the ends. The addressing of this issue was only done after unrolling, where an extra surface could be drawn onto each end, completing the notches.
Adressing issues
Incomplete notches
Thus, the process of digital modeling does not just end at producing the model. Just like in the physical form, digital models require a certain degree of prototyping, even if entirely done on the digital modeling interface. Digital models are not perfectly precise. Every action in the digital interface is subject to minor errors due to their numerical nature with “finite precision”. However, comprehending the reason these errors occur when they occur is useful to improve the “construction sequence” of the model instead of simply fixing the errors (Schuerer & Stehling 2011).
FABRICATION
3D Panels (3Du &3Dl)
3D panel labelling system
3Dl
The fabricating process began by unrolling all the panels. Taking the whole model into consideration, the optimal way to unroll the 3D panels was by strips, parallel to the structural ribs. Each strip was then labeled alphabetically and by colour to make cross referencing to the model easier. Additionally, a labeling system was put in place while unrolling so that the edges could be matched easily. 3Du
Some faces of the panels unrolled on top of each other which required them to be pulled apart so that they could be cut properly. This required another level of labeling for each piece in every strip. Such measures could have been avoided if the faces of the panels were triangulated but this would have added unwanted fold lines onto the surfaces. Tabs on each panel were added through grasshopper. Grasshopper allowed for a quick and uniform creation of tabs across the panels. However, the time saved through automatically creating tabs was used to delete the unwanted tabs from free edges.
FABRICATION
2D Panels (2Du & 2Dl)
2Du
2D panel labelling system
The 2D panels were easier to handle because they were already triangulated so they unrolled strip by strip without any overlaps. Again, the labeling system was put in place during the unrolling process so that the edges could be matched easily. Each strip was either labeled with alphabets where they corresponded with the 3D panels or numbers where there were no 3D panels. 2Dl
FABRICATION
Digitlal projects have formed more complex issues which have consequently resulted in more advanced solutions. Thus, there has been an increasing interest in how things are made a reality. In digitlal modeling processes, ‘how the idea is tested and developed becomes an important factor’ (Macfarlane 2005). During the prototyping stage, the entire rib structure that was meant to run through the entire model was constructed. However, it was found that the horizontal ribs did not contribute to the strength of the model and added unnecessary weight so only the structural ribs in between the panels and visible horizontal ribs were used. The testing of these ribs carried out by constructing a physical prototype allowed physical alterations to made and the model retested. The final model then only required the structural ribs and a portion of each horizontal rib for the mid-section of the model where there are no panels. The structural ribs were labeled with numbers and the horizontal ribs were labeled with letters.
Ribs (R)
FABRICATION
When printed on A4, each page is 37% it’s original size.
Nesting
FABRICATION
Construction method
Joining individual pieces (3D panels)
3D panel strip
Construction method (2D panels & Ribs)
Cross referencing during the construction of the model was essential because each panel or set of panels would correspond with at least one other component. For example, the mid-section of the model saw structural ribs that needed to be attached to 2D panels and horizontal ribs. Similar situations were repeated at the borders of the 3D and 2D panels. Each 2D panel strip needed to be folded along the fold llines before being attached. The 3D panels neeed to be constructed first before being attached to the model by joining the indivual pieces together to form a strip.
3D panel strip with ends joined
FABRICATION
3D panels (upper)
3D panels (lower)
2D Panels
Ribs (upper)
Prototyping
Ribs (mid-lower)
2D panels
The full scale prototype was constructed from 200gsm black card for the panels and white mount board for all the ribs. It was constructed in three sections; the top, the middle and the bottom. The panels and ribs were cut using the laser cutter due to time restraint and a large number of individual pieces. During the construction of the prototype, some optimisation was done in the mid-section of the model. Structural rib number 12 was removed and the horizontal ribs cut to make the mid-section shorter and consequently stiffer. The construction of the full-scale prototype also gave an indication of how much time was needed to construct the final model. Technology allows for the production of technical physical models based on digital models with accuracy and in much less time compared to attempting to fabricate the model by hand. Thus, technoogy changes the way designs are developed and realised.
Full scale prototype
FABRICATION
Sections pulling apart
Optimisation
Ribs bending and pulling apart
Wire to accommodate lighting
White structural ribs
A number of changes were made to the design of the model after constructing the prototype. For the final model, 300gsm black card was used for the panels and black board was used for the structural ribs while white board was used for the visible horizontal ribs. This made the model slightly neater. Consideration was also given to how
the LED lights were to be installed. The notching in the structural ribs were made use of by stringing wire through them. This wire allowed the LED lights to be suspended within the model. The construction process itself was also altered as the final model was constructed starting from the middle, moving outwards towards the two ends. This allowed for the
Black structural ribs
panels to be attached better. All the panels and the structural ribs were laser cut but the horizontal ribs were cut by hand to avoid burn marks on the edges.
FABRICATION
Mid-section
Lower section
Upper section
Final Model
REFLECTION
Final Model (Back)
Final Model (Front)
Previously, the introduction of computer graphics was the height of technology where we could use virtual objects that resembled real life objects to achieve computational tasks. The real world was mapped into the digital world to increase functionality. However, as technology is developed further, the opposite is occurring where the digital form is being turned back into the physical form (Mitchell 2000). This idea of the interrelationship between the physical form and the digital form has been the basis of the entire design process where physical models were digitised, and then physically realised through the use of fabrication technologies. The successful realisation of the digital model required a fair amount of testing and optimisation achieved through the construction of a physical prototype. Digital modifications could then be made based on that for reproduction purposes.
Final Model (Right)
Final Model (Persepctive)
Technology has also brought forward the concept of form fetching function where objects become more multipurpose and what they can achieve is no longer apparent or predictable. The function of these objects is then more based upon code. This is comparable to natural processes in which ‘code’ results in the patterns that can be found in nature. ‘Codes’ obtained from nature can then be used in the digital world in a roundabout process (Mitchell 2000).
REFLECTION
Lighting (3D Panels)
Representations of the model in the digital form were informed by material restrictions. In Fleischmann’s paper on material behaviour, the physical properties of the construction material was used to compute the form of the pavilion being designed, virtually. The physical realisation of the pavilion was then made simpler because the design was already tailored to the properties of the material. On the other hand, complexity of material realisations are dependent on their virtual representations that allow for a high level of detail and accuracy. Such was the case of the lantern design process in which the interrelationship between the material restriction of card as well as 3D modeling on rhino was experienced.
Lighting (2D Panels & Ribs)
Lighting (3D Panels)
Virtual Environments has provided me with a new set of skills and a new lens through which to look at design and the abstraction of processes. It has given me an insight into what designing, in general, is about as well as the key aspects of the process. The tasks in this subject were a challenging introduction to digital modeling as it required me to learn a new set of skills in a short period of time. The importance of digital modeling is unmistakable and the skills and concepts I have learnt in this subject will prove to be useful in future design projects.
REFERENCES Ball, Philip (2012): Pattern Formation in Nature, AD: Architectural Design, Wiley, 82 (2), March, pp. 22-27 Fleischmann, M., Knippers, J., Lienhard, J., Menges, A., and Schleicher, S. (2012): Material Behaviour: Embedding Physical Properties in Computational Design Processes, D:Architectural Design, Wiley, 82 (2), March, pp. 44-51 Macfarlane, B. (2005): Making Ideas. In Architecture in the Digital Age, B. Kolarevic (ed.), Spon Press, London, pp. 182-197 Mitchell, W. (2000): Software: New Genius of Place. In e-Topia, MIT Press, Cambridge, MA, p. 42-68 Poling, Clark (1987): Analytical Drawing. In Kandisky’s Teaching at the Bauhaus, Rizzoli, New York, pp. 107-132 Scheurer, F. and Stehling, H. (2011): Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 (4), July, pp. 70-79
MODULE FOUR BOHEMIA HOOKHAM 583050 Group 12 – Michael Wu Virtual Environments Semester 2 2012
FISHTAIL MOVEMENT IDEATION
IDEATION PATTERN IN NATURE The movement of a fishtail is a natural process that not only has a repeated form and shape, but is also restricted because of the use. This context of use is important for us to observe how the form is required to move.
Pattern formation is not a static thing. But arises from growth: everything is what is it because it got that way (Thompson, cited in Ball, P. 2011). So, keeping this in mind, we can assume that the movement of a fishtail has a particular purpose. It is the context of use (the need to swim through water with ease) that a pattern was formed in the way it flows continuously through the water.
IDEATION DEVELOPMENT Lift
Thrust
Drag
Increasing size of movement
After observing the visual pattern that the movement of a fishtail creates, it could be concluded that there are several pivotal points within the tail. These points act as boundaries (or restrictions of movement) that can be seen through the full extension of the tail from one side to the other. By taking these key points and combining them to show the full movement of the fishtail, the lantern could be designed so that one end would be static, while the other displayed an explosion of movement in various directions. This explosion of movement not only related to the movement of the fishtail, but then also to the reactions it would create in water when in motion.
IDEATION FINDING THE FORM Once these points were determined, the form was developed through a series of sketches. Analytical drawing, similar to what Kandinsky taught, proved to be an appropriate and successful way of representing the shape and form of fishtail movement. This allowed the important information (the pivotal points of static energy) to be translated, while an aesthetic form could be derived from this information. When considering the movement of a fishtail, one key aspect to keep in consideration for the design process is that the movement is all behind the main body of the fish. The lantern concept would then incorporate this into the design, by placing it on the back, while still keeping the main
focal point visible.
Form is too similar to that of a fish
Does not exaggerate the key points enough
The focal point (right end) is determined
Curves allow the
“explosion of movement� to be represented
IDEATION RELATION TO BODY
Eye-level focal point
Wraps around the back of the body Final point still catches the eye, while being discreet
In relation to the body, the original placement for the lantern was to be over each shoulder and to then join in a point at the middle of the lower back. Difficulties arose, however, as rhino did not allow an “open surface” to be created, instead it would only create an “open polysurface”. Unfortunately, there are various limitations when using computer programs, but these issues can be worked around and changed with careful design. The design was then revisited and changed, while still keeping the original idea of over the shoulder. Hooking the lantern to the opposite waist also allowed for more support and stability while being worn, meaning that the lantern would sit fairly rigidly against the user's body.
Placing the lantern diagonally across the body and over the shoulder allowed the focal point – the explosion of movement – to be at eye level.
IDEATION CONCEPT TO CLAY The clay modelling process proved to be very successful and highly rewarding as it was much easier to develop and represent the form than it was through drawings. Being able to
manipulate the design with hands meant that it could easily be changed as new ideas developed, too. In this stage, the design became wrapped
around the body, rather than being laid flat, allowing it to interact with the human body. Through this process, the context of use really influenced the form as it not only had to be aesthetic, but also functional. There are lots of restrictions with using old methods of recreating ideas such as drawings. This is where the fabulous technology of the digitization process of design comes into play.
FISHTAIL MOVEMENT DESIGN
DESIGN DIGITIZE For the digitization process, the technique of slicing contours was used in order to create an accurate flowing shape that evenly decreased in size as it approached one end. The initial loft didn't create the desired effect, however, and various techniques were used to adjust the shape. The refinement of the form was fairly easy and straightforward to do once the main contours had been transferred into rhino.
“Design computation provides the possibilities of integrating physical properties and material behaviour as generative drivers in the architectural design process.� (Fleischmann, M. 2012) And so, through the possibilities that design computation gives us, the model could be created and designed (perhaps even with more accuracy than the clay model) in order to be fabricated later on.
DESIGN PROTOTYPE “A model, by definition, is always an abstraction of reality.” (Scheurer, F. and Stehling, H. 2011) And this is exactly what the prototype model was. An abstraction of reality. The prototype was not completely unsuccessful, but it did not accomplish what it was designed to do – wrap around the back of the body. It was also quite uncomfortable as the 3D panels jutting out towards the face would stick into the user's neck uncomfortably. So the next step was to either adjust the lantern accordingly so that it was of the right length and wrapped around the user and sat comfortably in sync with their body, or to leave it. It was also commented that the design almost seemed “unfinished” due to the visible open ends. This needed to be adapted – as discussed in various lecture – in order to develop and improve the design. The design is something that can never really be left alone. Architects and designers never really know when to stop. There is a point in time, however, when a project can become “over-designed” and thus, not achieved what it set out to do. This is a critical moment in design. Knowing when to stop, and knowing when things need to be adapted, developed and changed.
DESIGN ADAPTIONS TO THE DESIGN
Original rhino model used for prototype
Final rhino model used for the final lantern
This major adaption to the design meant that the model would now be at least 25cm longer than the prototype. The end points would be more difficult to construct and and the lighting would need to be installed prior to the final glueing and fabrication.
DESIGN PANEL The panelling process proved to be one of the most difficult parts of the digitization process as particular points needed to be laid out before the creation of the panels. This required some knowledge of what the computer would be doing “automatically”, rather than just pushing buttons. As Scheurer, F. and Stehling, H. mention, to be able to facilitate communication, precision and an accurate assessment of quality throughout the process, a general understanding would be required.
3D panelling – left side
For the panelling design of the lantern, both 2D and 3D panels were desired. This meant that careful consideration would need to be taken in order to ensure that where these two sections meet, there would be no uneven joints. The most efficient way to ensure this was by using the same grid points, allowing them to intersect, and then by deleting the excess panels that would not be used. Different offset points were also used for the left and right 3D panels in order to have smaller panels when closer to the face for comfort and larger panels away from the face in order to further emphasise the
explosion of movement.
2D panelling – middle spine outer and inner
3D panelling – right side
DESIGN ADAPTIONS TO THE DESIGN Adaptions were also made to the panelling of the design, in particular, the cut outs of each panel. Instead of having every side of the pyramid cut out, one side each cut out was left uncut by the card cutter, allowing it to open like a flap. This let out the light in a much more directed angle, as well as creating more stability with each piece.
Prototype model This image shows the open cut-outs of the 3D panelling.
Final model This image shows the changes made to the panelling after prototyping
DESIGN PRECEDENTS Diploid Lamp Series This lamp series has also been inspired by things found in nature such as scales, honeycombs and barnacles. There are various similarities in the designs of some of the lamps as they make use of 3D pyramid panelling with cutouts. These all join together seamlessly in order to create a flowing and complex form.
DESIGN PRECEDENTS
RMIT Building 80 In exploring precedents, this building seemed to be fairly relevant due to the triangular formation of the shapes that jump out like 3D panels. In the new design of the panels after creating the prototype, a new idea arose to allow specific flaps of the panels to be opened, rather than completely cut out. This would also relate to the concept of fish as each flap would be like a “layer�, much like the scales of a fish.
FISHTAIL MOVEMENT FABRICATE
FABRICATE UNROLL The lantern was “unrolled” so that the 2D panels remained in strips running vertically and the 3D panels were sectioned by row. The three pyramids from each row were unrolled together for ease during the fabrication process. Therefore, there was a total of fifty-three pieces, due to the fact that the long 2D strips needed to be broken in half in order to fit the page. Here, limitations of the card cutter become evident where only specific lengths of paper can be used for fabrication. There are, however, a large variety of benefits of using the card cutter or laser cutter.
“These new tools give us a new way of seeing, new eyes – possibly a new future – almost to the point where one can think digitally” (Macfarlane, B. 2005). It allows designers to create highly technical models of digital designs in much less time than if they were to be done by hand.
FABRICATE UNROLL As shown in the image to the right, the pieces were laid out on each page and prepared for printing. The ivory card, for the 3D panels and the black card for the 2D strips.
Using black card for the middle section of the lantern also created an interesting effect. When looking at the lantern from afar, it seemed to appear as if the white 3D panels were floating against the body.
Screenshot of pages ready for printing
FABRICATE PROTOTYPE
Top view of prototype model showing lighting effects in the dark
Sections of the model
Back view of 3D panels
After fabrication of the prototype model, it was evident that changes needed to be made. These changes were mostly related to the function of the lantern, due to the fact that it wasn't sitting how it had been designed to sit and it was uncomfortable for the user.
FABRICATE FINAL MODEL Here, various stages in the fabrication process of the final model are shown. The images to the left show the 3D pyramids before being glued together. The image to the right shows a mistake made by the card cutter, which was fixed using a stanley knife. And the images to the bottom right of the page show the most challenging part of fabrication – closing the seam. Mistakes with the card cutter Pyramids were lined up, as shown to the left. Most of the tabs for the smallest groups of pyramids proved to be too small, making construction difficult, time consuming and very delicate work. It was also hard to tell which end was which due to the lack of cut outs in the panels. 3D panels and interior spine joined
The seam joining the two 3D sections of panels
FABRICATE FINAL MODEL The final lantern proved to sit perfectly with the user's body, allowing it to be hooked onto the left waist for more support. When in use, the model remained rigid against the body, even when in motion. It was comfortable on the face, as well, as changes had been made from the prototype model so that the 3D panelling was not sticking into the neck and face.
FABRICATE LIGHTING EFFECT
The lighting system that was created included eleven lights running from the front section of the lantern to the tip. A wire was threaded through one of the black holes discreetly, leading the the switch on the outside of the lantern allowing easy manipulation of the lights. On the interior, each light was firmly fastened to the black paper in order to try and hide the black wires. Each light was also covered with some tracing paper in an attempt to disperse the light, rather than having a direct beam which needed to be angled perfectly.
FISHTAIL MOVEMENT REFLECT
FISHTAIL MOVEMENT REFLECT When I first began this subject, everything was all a little overwhelming. Nobody really knew what was going on, or how we were going to do what the task had described. It only became clear to me during the transition between module two and three. This was the stage in which I began to develop more ideas and understand how exactly my model would take shape. This subject has definitely taught me a lot of things. Firstly, I've learnt how to manipulate Rhino, which I'm sure will be of use to me in the future as I'd like to major in architecture. I've also learnt a lot of technical skills used in the process of model making. I now know how to use the laser printer and card cutter, as well as how to physically create a model from paper. Through this process of digitization to fabrication, it's clear that when a model is finally created in the real world, there are various restrictions and differences. Ease of construction being one of the main issues relates to how the model could be physically constructed. Without the use of machines, a perfect accuracy could not be achieved, and some sections of the model were left with errors such as glue marks or slight gaps in openings. These limitations are not only due to the lack of skill, knowledge or tools for construction, but also because of the limitations of the materials, including both the paper and glue. Design decisions were sacrificed in this process, too, mainly due to time restrictions which meant that I couldn't create a prototype of my newly designed model. Instead, the prototype became the final lantern.
FISHTAIL MOVEMENT REFLECT There are a large amount of benefits in using digital fabrication processes that would not be possible using traditional methods. The problems arise, however, when the physical construction is being done. What's interesting to note about this subject is that even though each student developed their design from a natural process, these processes were not at all clear in the parade. When looking at someone's lantern, there could have been thousands of natural processes that related to the design. It is, however, due to the inspiration that a representation could be formed, and thus the material realisation constructed.
In this way, the representation is mutually dependent on the material realisation. Both are dependent on each other, even though these links may sometimes become unclear through the process of creation.
Overall, I thoroughly enjoyed Virtual Environments. It's definitely the most rewarding subject I have done this year and it's such a great feeling to be able to physically see, hold and touch your own creation. Doing this subject has given me an insight into the design world, as well as boosted my confidence in my design abilities and my own ideas and creativity.
Virtual Environments (ENVS 10008)
Module Four: Reflection - Student Journal Catherine Mei Min Woo 562729 Semester 2/2012 Group 13
Ideation How do forms and contextx (of use and resources) influence each other?
Death
In the exploration of the selected theme in relation to the brief presented [namely the theme of Death in relation to the creation of a wearable lantern], the form and context of which the project is based on greatly influenced each others development, resulting in the selected focus features: curvature, headpiece and shadows.
What is death?
Is death a looming shadow?
Or a process of enlightenment?
Ideation How do forms and contextx (of use and resources) influence each
Death
other?
Natural Process Curvature Death occurs when a living organism/cell permanently terminates the biological functions that sustain the living organism The process whereby biological changes occur after reaching maturity is known as senescence/biological aging Structural rigidity of plants reduce and cause them to appear limp/wilt due to structural changes caused by aging Humans experience the same structural changes to their bone and muscle structure When an organism dies and lose structural control, gravity pulls them towards the earths surface, forcing cantileveing organisms to ‘bend’ downwards
Figure 1.1
Figure 1.2
Figure 2.1
Figure 2.2
Figure 2.3
Figure 1.1-1.2: Diagram of a wilting plant and the curvature that is found to exist in the organisms death, which is also seen in Figure 2.1-2.3: whereby the same pattern exists in other organisms eg. Humans.
Ideation How do forms and contextx (of use and resources) influence each
Death
other?
Natural Process Headpiece Inspired by the psychological ties connected to the process of death and the physical curvature of dead/dying organisms Death can be perceived as a looming shadow and unavoidable, hence ominous and threatening The idea of shadows brings about interesting pattern centric possibilities for shadowing of the headpiece
Figure 3.1 Figure 3.1: Illustrates the difference in psychological perception towards the process of death. Both are contrasting as one can be considered a “looming/ominous” event that is physically represented as a shadow whereas it can also be uplifting and bright, like a lantern
Death can also be precieved as the last stage of mortal enlightenment, hence ties into the lantern concept By adapting the curvature to the headpiece, traditional headpieces eg. hats can be reinterpreted into more elaborate designs and patterns for this task
Figure 4.1 Figure 4.1: indicates how the curvature can be reinterpreted as a “looming” or cantelivering structure, which allows the posibilitiy of creating “looming shadows” to tie in with the theme while creating opportunities for pattern implication
Figure 5.1
Figure 5.2
Figure 5.3
Figure 5.1-5.3: Examples of how the curvature can be adapted into the headpiece as inspired from the headpieces as pictured on the left
Ideation How do forms and contextx (of use and resources) influence each
Death
other?
Natural process Headpiece Inspired by the psychological ties connected to the process of death and the physical curvature of dead/dying organisms Furthering the idea of “looming”, the affects of the shadows cast upon by the proposed sketch models successful create the desired outcome
Figure 3.1 Figure 3.1: Sketch models displaying two sketch designs
Furthering the idea of “enlightenment”, integration of LED lights into the design would create interesting results after incorporating patterns By adapting the curvature to the headpiece, traditional headpieces eg. hats can be reinterpreted into more elaborate designs and patterns for this task Figure 4.1 Figure 4.1: indicates how the curvature can be reinterpreted as a “looming” or cantelivering structure, which allows the posibilitiy of creating “looming shadows” to tie in with the theme while creating opportunities for pattern implication
Figure 5.1
Figure 5.2
Figure 5.3
Figure 5.1-5.3: Examples of how the curvature can be adapted into the headpiece as inspired from the headpieces as pictured on the left
Ideation How do forms and contextx (of use and resources) influence each
Death
other?
Natural Process Pattern The curvature of dead/dying organisms is the primary structure that makes up the design by this theme The basic composition of the structure would focus on capturing the curvature of a dead/dying organism The pattern is further derived from dead/ dying organisms through the analysis of decomposition of organic matter Principles of paneling suggest creating seemingly random patterns through a systematic process, may be able to successfully translate the desired pattern onto the design
Figure 1.1
Precedents include decaying organic matter as well as facade mesh/screen patterns found in contemporary architecture in locations such as Pittsburgh
Figure 1.2
Figure 2.1
Figure 2.2 Figure 1.1-1.2: Images of existing architectural structures that make use of patterns Figure 2.1-2.3: further examples of decaying organisms and the patterns created
Figure 2.3
Design How do different media support different kinds of design inquiries and refinement?
Death
In the experimentation process of the design, many different variations were created to not only suit the form that was desired but primarily the function of the desired product. The emphasis was generated not only to strike a balance between the potential form and function of the envisioned product, but to ultimately push the boundaries of the design outcome with limited resources, knowledge and material. Questions of suitability of the design in terms of relevance in regards to the brief was taken into consideration to provide a sort of design parameter, ensuring a more focused area of thought.Through experimentation of both forms and shadow play, many different manners of approahing the design were critiqued and refined based on ability to fabricate [due to limited knowledge in software and craftmenship] as well as appropriately answering the brief, which was to create a wearable lantern. The choice of creating a headpiece provided a parameter that spanned the head region of the body, providing a smaller area the work with. To experiment with the design in this region, clay prototypes were used on a wooden model and altered and refined to create the basic form of the design.
Design How do different media support different kinds of design inquiries
Death
and refinement?
Experimentation: Form Form Design 1
The design began from a more floral approach , similar to that of the precedents presented in the Ideation module, but gradually developed into less realistic forms that carried traits of plan components eg. petals that identify with the design focus in terms of form and structure
Design 2
Design How do different media support different kinds of design inquiries
Death
and refinement?
Experimentation: Forms & Shadows Form & Shadows Design 3
Design 4
The prototypes also played with shadows to emphasize the idea of looming & enlightenment is possible with various designs, as well as the projection of light to emphasize physical traits of decomposition
Shadows on various surfaces, with different light source direction and projections
Design How do different media support different kinds of design inquiries
Death
and refinement?
Precidents: Pattern
Existing light shadowing
Decaying leaf shadow
The patterns selected were further derived during the Ideation component of the project, expanding from the theme of Death and outlining the occurrence of decomposition, hence a wide spread yet detailed and seemingly random patterns were selected that occur in nature and how such projections were translated into existing forms such as lamps Physalis alkekengi
Rovi Lau Sem 1 2012
Design How do different media support different kinds of design inquiries
Death
and refinement?
Experimentation: Form Headpiece
Design 1: Sketches and clay model
Final design for the basic form of the structure, notably shaped due to the experimentations prior to it’s final outcome and further refined to create a more stream lined and sophisticated structure that would be further developed into a solid structure as opposed to the initially desired whimsical, bodiless structure.
Design 2: Inspired by previously proposed design, and intergrated into the second design
Fabrication How do different kinds of fabrication technologies make possible as well as constrain what can be constructed?
Death
The most tedious and tiresome component of the project would be the fabrication module, or more specifically, digitization and optimization of the design. This was particularly difficult due to the lack of familiarity with the software and having to try to understand the parameters and language of which the software is designed to create optimum results. The Rhino software, undoubtably streamlined the process once mastered, proved a challenging learning curve in the face of deadlines and ideas vs the software capability of translating the idea into the software for processing. As mentioned in the lectures weeks 5-11, the readings and lectures emphasize time and time again the significance of such technological development in the changing manner of which design is presented and created. However, such man made devices prove to be a useful tool, not a designer, as the creativity and imagination of which designs are derived are still limited to human ingenuity . Furthermore, being provided with a software sets parameters and limitations that span the design of the software to the designers understanding and ability to use such a software, as experienced repeatedly during the digitization process. Not only are physical traits such as scale and form limited by such software. the material used needs to be taken into consideration as well. The material criteria includes ivory white or black 200gsm card, black 300gsm card or white mount board, hence made a challenging process as the desired outcome was of an organic shape. To create the illusion of such a shape, the Rhino software proved useful in generating panels through triangles to create the illusion of such curvature throughout the structure while remaining to scale and true to the original form.
Fabrication How do different kinds of fabrication technologies make possible
Death
as well as constrain what can be constructed?
Paper Prototypes Wire mesh prototype
Initial prototypes created after the clay prototypes were completed, attempted to scale and divided for fabrication and translation.
Paper prototype: simplified for panelling
Fabrication How do different kinds of fabrication technologies make possible as well as constrain what can be constructed?
Digitizaition trials to create basic shape
Rendered model as seen from orthographic views. The models are contrasted with white and black backgrounds respectively for varied emphaiss of curvature and structure under different circumstances.
Death
Fabrication How do different kinds of fabrication technologies make possible as well as constrain what can be constructed?
Death
Finalized perspectives & nesting
Below is the optimzed nesting layout sent for printing at the Fab Lab The exterior was sent for printing first to ensure the support/exterior dimentions were accurate as advised by Michelle in the Tutorial 9.
After many trial and errors, the perspective of the basic shape of the model was finally digitized, as pictured in the picture on the left. The design was eventually broken down into it’s basic contures and railed in Rhino and resulting in this final outcome. A combination of contouring methods, essentially the hybrid of all 3 methods outlined by the tutorials as well as assistance from tutors, the design was eventually translated, whilst retaining the key features of the design: The idea of death as a ‘looming’ yet ‘enlightening concept, the abiility to cast shadows/ shadow play as well as the physical curvature of dead or dying organisms.
The exterior design was intended to have made use of 2D paneling, as to emphasize on the idea of creating shadows from the interor 3D paneling while retaining the sense of a ‘looming structure’. A simple pyramid 2D paneling was applied onto the surface to produce the image on the left.
Fabrication How do different kinds of fabrication technologies make possible as well as constrain what can be constructed?
Death
Completed full scale prototype Version one of the exterior of the model completed as seen in the picture on the left. Transportation of a model this scale will be complicated as the only modes of transportation available are public transport and a small car. The solution would be to reduce the scale of the model. With the scale reduced, the number of paneling should also be reduced to make construction easier. As for the cone structures (eg.wings 1 and 2) to make fabrication easier, will be reconstructed into whole cones to prevent odd and uneven joints occurring. The tabs will also be enlarged for the sake of convenience as an increase to about 1cm will not interfere with the path of light, and in-fact could be good for mounting of the LEDs.
Fabrication How do different kinds of fabrication technologies make possible as well as constrain what can be constructed?
Death
Assembly & Paneling Manual assembly of the respective sections after printing and laser cutting the score and cut lines using the Grasshopper Plug-in in Rhino. UHU glue being the main adhesive as well as cellophane tape. The panelling was also experimented on but the laser printing was rendered unusable due to the material not being strong enough to sustain such detail without collapsing hence was also done manually [measurement and cutting].
Fabrication How do different kinds of fabrication technologies make possible as well as constrain what can be constructed?
Death
Completed model
Completed model as seen in perspective and as seen during the Virtual Environments Lantern Parade in October 2012 (photo credit to Rovi Lau 2012).
Reflection How do representations and their material realisations (or insights) may be mutually dependent?
Death
What are the learning outcomes of this subject and its relevance to your further studies and future?
Theories presented through the lectures and readings such as Ball (2012), Poling (1987), Ching (1990) and Yee (1997) provided separate but interconnected theories and introduced precedents that exist readily in nature and are adapted into structures and technology to be utilized by humans. Ball (2012) discussed the idea of “self-organization” in nature through natural processes, such as adaptation through naturally occurring environmental constrains and opportunities. Upon reflecting the importance of mathematics and logical thinking in the design of structures, Kandisky (poling 1987) approached design derived from the principles of logic and mathematical calculations. Additionally, Ching (1990) and Yee (1997) provide informative insight into orthography, hence streamlining implementation into the student journal. the Rhino and InDesign tutorials have been helpful to a certain extent for further research and comparison of usage techniques, online and offline, have generated greater insight into full utilization of the programs. Other theories presented through the lectures and readings such as the lecture delivered by Alex Selenitsch about form and matter was very engaging, as he focused on the importance of composition, the idea of form and matter, as well as how to combine existing elements to create something new. The reading by Scheurer and Stehling (2011) was more inclined towards exploring the relationship between mathematics and computation, and the process and break down of how computational programs can be used to materialize design. Upon reflecting the importance of material and computation in the design of structures, Fleischmann et al. (2012) approached design derived from the principles of the marriage of these two seemingly separate concepts of computerization from week 3, composition in Week 4, and how they combine to become an entirely separate entity that embodies all 3 of these aspects of design. In week 7, Paul Loh (2012) explored the idea of “the Power of Making” as a problem solving method that focuses on creation through design. Similarly, the reading by Macfarlane (2005) explores the relationship of digital evolution over recent years
Reflection How do representations and their material realisations (or insights) may be mutually dependent?
Death
What are the learning outcomes of this subject and its relevance to your further studies and future?
with the creative process. Both address the significance of creation and how technology aids and expands this process. In week 8, Stanislav Roudavski (2012) expanded on the relation between technology and the creative process that was addressed in week 7 by focusing on this relationship with the profession of architecture and how communicating ideas with other faculties is more streamlined due to this technological development and adaptation into the industry. Additionally, Gershenfeld (2005) however, focuses on the more technical aspects of design and customization through expanding the fabrication techniques outlined last week (addition and subtraction) as well as the significance of model construction. In week 9, Bharat (2012) delivered our last lecture about our prospects in pursuing Rhino or even other modeling softwares in the future. As professions in the developing world transcends more and more, professions such as engineering and architecture make use of such softwares, similar to streamlining the process of product design and manufacturing. For our final readings, Mitchell (2000) elaborates the growing significance of the internet and the online community while questioning it’s presence in our futures. The lectures ended on a rather bittersweet note as the virtual lectures are the most interesting lectures of all the courses I am currently enrolled in and they have assisted me greatly in motivating me to work towards familiarizing myself with the software, Rhino. The constant emphasis of technology in design greatly streamlines the process and assists greatly in the fabrication process, however mastery of the software is required to achieve such ease. Therefore, through the understanding of the significance of these concepts has drawn emphasis from abstract design to physical materialization of the model, and hence driven further interaction and practice towards mastering Rhino as a tool for this process to go through. The representations of the initial prototype models made of modeling clay , wire mesh and paper varied tremendously in comparison with the ivory white card that was used for the final model. As the use of materials changed, all of which embodied different elements of the desired design. The clay embodied the curvature and
Reflection How do representations and their material realisations (or insights) may be mutually dependent?
Death
What are the learning outcomes of this subject and its relevance to your further studies and future?
the shadowing effect required of the design but only represented the idea of a headpiece sans lantern whereas the wire mesh only represented the curvature of the design. The wire mesh was then translated into paper for segmentation and hence only representative of the shapes but not a solid prototype of the lantern. The completed prototype using the actual material was then analyzed for pro and con factors, which included the scaling of the tabs, size of paneling, and overall scale of the model. Without the representation and experimentation of the initial designs, it would not have been possible to produce the final design, and were important learning curves to overcome and refine the design. References: Projective Geometry Ching, Francis D. K. (1990): Basic Orthographic Methods. In Drawing- A Creative Process, Van Nostrand Reinold, pp. 146-159 Yee, Rendow (1997): Conventional Orthographic Terminology. In Architectural Drawing- A Visual Compendium of Types and Methods, John Wiley & Sons, pp. 41-63 Ideation Ball, Philip (2012): Pattern Formation in Nature, AD: Architectural Design, Wiley, 82 (2), March, pp. 22-27 Poling, Clark (1987): Analytical Drawing. In Kandisky’s Teaching at the Bauhaus, Rizzoli, New York, pp. 107-132 Design Scheurer, F. and Stehling, H. (2011): Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 (4), July, pp. 70-79 Fleischmann, M., Knippers, J., Lienhard, J., Menges, A., and Schleicher, S. (2012): Material Behaviour: Embedding Physical Properties in Computational Design Processes, D:Architectural Design, Wiley, 82 (2), March, pp. 44-51 Fabrication Macfarlane, B. (2005): Making Ideas. In Architecture in the Digital Age, B. Kolarevic (ed.), Spon Press, London, pp. 182-197 Gershenfeld, Neil (2005): Subtraction; Addition; Building Models. In FAB: The Coming Revolution on Your Desktop--From Personal Computers to Personal Fabrication, Basic Books, pp. 67-76; 93-101; 103-113 Reflection Mitchell, W. (2000): Software: New Genius of Place. In e-Topia, MIT Press, Cambridge, MA, p. 42-68 Mitchell, W. (2000): Replacing Place. In The Digital Dialectic, P. Lunenfeld (ed.), MIT Press, Cambridge, MA, p. 112-127
REFLECTION MODULE FOUR
DANIEL CAGAROSKI STUDENT NO
583059
SEMESTER
2/2012
GROUP
15
IDEATION
CUCUMBER TENDRIL GROWTH AND FORM By using the context of a natural process, I was able to influence my lantern design. I decided to analyse the behaviour of cucumber tendrils. I specifically wanted to investigate their pattern of growth behaviour, and how they gradually curl and grasp onto surrounding objects. Prior to investigating the behaviour of cucumber tendrils, I wanted to know why they grow these features. Cucumber plants are vines that possess these features in order to climb, and thus take advantage of sun exposure. The tendrils help the plant grasp around surrounding objects by securing onto them.
tendrils which I find particularly unique among plants.
DESIGN
The science behind cucumber tendrils involves special cells that react chemically and electronically to touch. This gradually forms the spiral shape of the
It’s interesting to note that the direction of the spiral is not static, and may change unexpectedly as shown in the image on the right. The tendrils may begin to spiral in one direction, and then start spiralling in the opposite direction. Loh (2012) raised my awareness of pattern, and how it can be incorporated into architectural design. He explored the concept of ‘biomimicry’ which is studying nature’s processes or systems and using its elements as inspiration for human needs. It is very much the case of what I am doing in this project. FABRICATION REFLECTION
IDEATION
INTERPRETATIVE SKETCHES In order to obtain some initial ideas of the natural growth of cucumber tendrils, I produced some interpretative sketches. The following sketches show how cucumber tendrils gradually curl around a neighbouring plant. Initially, the distance between the grasping is large, however, as the tendrils further wrap around the plant and work its way up, the spacing becomes closer and stronger. It would be interesting to add this notion of variability within the idea for the model. The further develop the notion of variability in the spacing, the tendrils’ tension would be also be stronger as they become more closely spaced together.
DESIGN FABRICATION
Tendril during initial wrap around neighbouring stem or plant
Tendrils gradually working its way up
Tendrils become more closely spaced together over time
REFLECTION
IDEATION
FURTHER DEVELOPMENT The first two sketches below represent cucumber tendrils climbing up a body. Since a cucumber plant is a vine, it climbs to the top seeking out the light. The tendrils grasp onto nearby objects (in this case, the human). This design is probably not developed enough in the sense that it looks exactly like the cucumber tendril. From here, I worked on the next idea. In order to develop the idea of cucumber tendrils on a body, I decided to explore the idea of the tendrils strangling the body (as shown in the third sketch). Theoretically, the tendrils would squeeze the arms or legs, while excess fat and skin thrust out through the gaps. I then thought it would be interesting to
DESIGN
explore the shape of the resultant arm or leg. This would provide an almost inverse shape to the original concept.
FABRICATION
Tendrils climbing up arm, seeking out
Excess fat and skin thrusting out
the light above
through gaps
REFLECTION
Tendrils climbing up leg
IDEATION
EXPERIMENTATION I wanted to experiment the feasibility of the third proposed sketch. I decided to test the concept by wrapping wire (representing cucumber tendrils) around clay. I added the notion of variability within the spacing of the tendrils, which represented the tendril time-lapse as noted earlier. The result was a unique shape and was more interesting than a standard, uniformly shaped design. Testing out the design was important so I could clearly visualise and understand how to construct the final model.
DESIGN
Wire is pulled in tension
Wire is removed, producing concept for final model
FABRICATION
Wire is wrapped around clay
REFLECTION
IDEATION
FINAL REPRESENTATION This is a representation of the model’s function when worn on the body. It has the flexibility to be worn on the arm. The flexibility of the lantern allows the user to move the arm freely. The lantern can be easily put on by placing the arm through the opening at either end.
DESIGN
The form of the lantern was greatly influenced by using the context of ‘natural processes’. I was able to use the idea of cucumber tendrils throughout the
FABRICATION
How do forms and contexts (of use and resources) influence each other? design and development of my lantern and thus create a connection connection between the two that would help achieve both an innovative and functional design. At times, my design rationale was not able to be justified by my natural process. This resulted in obscure and unjustifiable design choices. However, through by making certain revisions and trying to relate my decision choices back to the natural process, outcomes were more appropriate.
REFLECTION
IDEATION
INITIAL DESIGNS Pro: Width of
Pro: Width of
spiral gradually
spiral gradually
grows
grows
Con: Size is too uniform Pro: Uniform
Pro: Uniform
Polysurface
sized gap
sized gap
(unable to
not uniform
panel)
Initial Design 2
Skeleton used for Initial Design 3
Initial Design 3
I had initially played around with different geometries of spirals, and adjusted parameters such as diameter, pitch and turns. What I really wanted to retain was a uniform sized gap between each turn (to represent the cucumber tendril), but also maintain an increasing pitch (showing greater stresses of
FABRICATION
Initial Design 1
DESIGN
Con: Gap size is
Con:
fat and skin thrusting out). In the Initial Design 1, I was able to create an increasing pitch, but the gap size was not uniform. In the Initial Design 2, I was able to maintain the uniform sized gap, but the pitch was too uniform and unnatural looking. Creating the spiral was difficult to construct in Rhino as each turn had to be manually drawn. There were no parameters in the Spiral command to create this. Eventually I was able to solve the two problems by manually drawing each turn of the spiral. This resulted in the closest representation to the clay model final model was a polysurface, which I was not able to panel. I had tried advance techniques such as polar arrays and section lofting, however, it had again created a polysurface. I then decided to completely change the modelling process.
REFLECTION
possible (as shown in Initial Design 3). I began with a skeleton and used a variety of lofting and 2 sweep railing methods. The major downside was that the
IDEATION
3D MODELLING PROCESS I was finding the geometric approach was creating models that looked too unnatural. I then rethought the whole process and simplified things. I first drew the spiral structure which incorporated an increasing pitch. I then copied this skeleton and moved it up. I drew a cross section that I thought would more closely represent the shape of the fat and skin. I then produced a sweep 2 rail and ended up with a much more organic model. I think this model more closely represented my natural process, and further tweaking (such as bending the model) really produced the model that I wanted to be working with.
DESIGN FABRICATION
Step 1: Rails and cross section
Step 2: Sweep 2 Rails
Step 3: Bending the model
Final Model REFLECTION
I wanted to explore a range of 2D and 3D panelling options for my model. Some options seemed to work well, while others did not. The most
IDEATION
PANELLING TRIALS
basic 2D panelling worked well with a Medium Grid as it retained the form the the model (unlike the loose grid) and also produced practical sized panels for fabrication (unlike the dense grid).
seemed to work well by providing an
DESIGN
In term of 3D panelling, the pyramids interesting and practical option for fabrication. The custom cones would 2D: Loose Grid
2D: Medium Grid
2D: Dense Grid
3D: Pyramids
perhaps be difficult to fabricate and were therefore not viable. The custom pyramids provided a quite natural flow of my model. I’m not sure where I could have
FABRICATION
mechanical look which distracts the
incorporate Fin Edges into my model. The effect provided a quite busy look, distracting the natural form of the spiral. I felt as though this method performance of my model. Although I could use Fin Edges for lighting 3D: Custom Pyramids
3D: Custom Cones
Fin Edges: Loose
Fin Edges: Dense
windows, I feel it would not be the best option.
REFLECTION
would also hinder the structural
IDEATION
PRECEDENTS Etch Web Light (Left) Tom Dixon These lights use a set of complicated geometries that mesh together to create the web. What I find interesting is how these lights cast shadows and how the shadows mesh together. I wanted my lantern to emit some sort of shadows similar to this light.
30 St Mary Axe (Right)
DESIGN
Shaping the windows of light would help achieve this (as shown on the next page).
London, UK, 1997-2004 This building uses an array of triangulation to create what is known as a diagrid. The use of a computer process as design changes could quickly be calculated and updated in the model. The use of this technology
FABRICATION
model was crucial in the design
vastly improves the design process and allows architects to be more innovative than without the technology.
mimic elements of my model. One of the interesting features on this building are the protruding triangular panels (which act as air vents). I used this precedent as the basis for thinking of ideas of how I could implement 3D panelling into the model.
REFLECTION
The spiral features of the buildings
Lower stress;
IDEATION
WINDOWS OF LIGHT I wanted to use the gaps as an opportunity to provide windows of light. This required the tedious
smaller windows
task of custom panelling the entire gap with a series of triangular panels. I then thought about ways to create these windows of lights. I used the command ‘offset faces borders’ to create these windows. In determining the size of these windows, I wanted it to somehow relate to the energy or stress by incorporating larger windows of light in these areas. Areas of lower stress would therefore correlate with smaller windows of light.
DESIGN
caused by the cucumber tendrils onto the skin and fat. In areas of high stress, I wanted to express it
How do different media support different kinds of design inquiries and refinement? Higher stress; larger windows
The use of different media allows different kinds of design to be created and developed. The clay used early in the Ideation Module allowed for quick adaptations and natural forms to be developed. This allowed me to quickly express the different visualisations of the lantern that I had in organic representations to quickly be applied. The use of the Rhinoceros NURBS modelling software allowed further and technical development by
FABRICATION
mind. Refinements could also be made to the clay by morphing it into shape, and allowing for
creating a computerised model of the clay. This computerised model could further be developed by panelling and unrolling it for the next stage of fabrication. These complex techniques would be very difficult if performed manually, without the use of computer technology. This shows the importance of digital technology in design aid, where it can assist in all areas of design such as architecture, industrial design, fabrication, etc.
builders (Macfarlane 2005). Rhinoceros has allowed me to produce something that I could effectively communicate to the viewer, and also create something that I would not have been able to create by using only a single media (such as clay modelling).
REFLECTION
The capabilities of Rhino have allowed designers to create innovate and complex models, that can be easily communicated across to engineers and
IDEATION
PROTOTYPING Through prototyping, I found ivory card unsuitable for my model as it revealed the tabs when the LEDs were lit. In addition, the card cutter that I had used to cut the ivory card produced very rough score lines, and so I discovered that using the laser cutter on black card would be the only viable option. I also had found that some windows were too large, and were creating structural problems. These windows would have to be scaled down. In my second prototype, I explored a different system of connections. I found gluing pairs of tabs together created stress problems on the panels. Tabs had to be bent at 90 degree angles, and gluing them together was therefore very difficult. I wanted to see how the model would connect by using an structure together. It also allowed for neater joints where tiny gaps produced by TAB-TAB connections were eliminated.
DESIGN
overlapping system of connections. This replaced TAB-TAB connections with TAB-PANEL connections. The results were much more effective in holding the
The third prototype was constructed at full scale which confirmed that TAB-TAB connections would be unsuitable. It also confirmed that 200 gsm card would be too thin for structural support, and so I would have to use 300 gsm card.
FABRICATION
Prototype 2:
Prototype 3:
Ivory Card, 250 gsm, Card Cutter
Paper, 80 gsm, Inkjet Printer
Black Card, 200 gsm, Laser Cutter
REFLECTION
Prototype 1:
IDEATION
3D REFINEMENTS I took a different approach with designing the 3D panelling for the model. I wanted to map the muscles of the arm by using a variable set of pyramids which are larger towards the biceps and triceps of the arm. I also left the remainder of the 2D panelling exposed to represent the fat of the arm. This approach of 3D panelling used a complex set of point attractors and calculations to vary the sizing of the 3D pyramids. Points in the 2D grid were selected individually at areas of the muscles, and offset and the offset grid.
DESIGN
using the point attractors. By doing this, 3D panelling was able to be executed through the base grid
The initial panelling pattern caused problems with grid alignment. The ‘triangular’ pattern skipped every second grid point. This caused problems when creating 3D panelling as gaps and the 2D panels. One attempt to solve this problem was to group selected points together, however
FABRICATION
would exist between the 3D panels
Rhino was not able to correspond these points with the offset grid. Another attempt involved custom drawing the 3D panels, which did work to a certain extent, however, this method did not utilise the more advance capabilities of Rhino and was extremely time consuming.
pattern. By using the ‘tri-basic’ pattern, a more uniform pattern utilising triangulation was achieved and Rhino was able to correctly create the 3D panels without gaps.
REFLECTION
A final solution was to re-panel the entire model using a different
IDEATION
2D REFINEMENTS Tabs were removed from the left side Tab width was set to 8.5 mm as this was the width of the glue tape (8.4 mm + error margin)
of each strip. This allowed each strip to overlap when glued together. Prototyping (as shown in the next
The windows in the spine had originally
section) explores this.
been set to etch, rather than cut. To eliminate manually cutting the windows (as this would create a rough cut), the spine
disjoin from the card after being
was recut with the correct cut settings.
cut, etch lines were set on each side of the strip. To enhance
DESIGN
In order for the strips not to
precision of the cut, the etch lines were set on the tabs, which would later be hidden.
FABRICATION
Black lines = Cut, Red lines = Etch
These tabs were removed as other tabs would connect to these sections. In addition, it would be difficult to add tabs in these with other tabs.
REFLECTION
sections as they would intersect
IDEATION
UNFOLDED CUTTING TEMPLATE Panelling was revised and set out logically and economically. The first strip represented the strip of panels at the bottom of the model, and each sequential strip was to be connected to the previous (as shown by the direction of the arrows). The use of confusing colour correspondence and labels were eliminated. Unrolling the strips vertically rather than horizontally made efficient use of the card strips in spiral form were eliminated, making the layout of the panels quite simple. Total Surface Area
7,105.15 cm2
Wastage
= [(60 x 90) x 3] - 7,105.15 = 9,094.85 cm2
% Wastage
56.1%
DESIGN
as each strip was uniform in shape, and able to be clustered together. Intersecting
FABRICATION REFLECTION
Material: Black Card Weight: 300 gsm Machine: Laser Cutter
IDEATION
FABRICATION PROCESS The final fabrication involved cutting the unfolded template on 300 gsm black card, using the laser cutter. In addition, 3D panelling was cut on 200 gsm black card, as it allowed for greater flexibility in bending the card. The 3D panelling does not provide any structural support to the model, and so the structure will not suffer from this. 300 gsm card provides the structural support to the model, while allowing the card to bend into place (thicker card such as mount board was found to be difficult to bend into place). Black card was also used as it would eliminate tabs to be seen through the card when the
A combination of glue tape and super glue was used to connect the panels together, and a TAB-PANEL connection system was incorporated in the final
DESIGN
lantern was illuminated and would not suffer from burn marks (as was the case with ivory card).
model. The final fabrication involved four stages: 1. Constructing the 2D panelling FABRICATION
Strip was curved to form shape of model
Shape of model gradually started to form
REFLECTION
Glue tape was applied to tabs
3. Attaching the 3D panelling
4. Adding the light circuit
The model at this stage was not rigid, and needed the support of the central spine.
LED
This spine also has windows to allow light to
All nine LEDs were linked together in a circuit. A
pass through.
IDEATION
2. Attaching the spine
switch was added to LED
Switch
enable easy functioning of the LEDs.
Battery
Nine cells very connected together
to form a battery. This LED
DESIGN
LED
provided the need energy to power all of the nine LEDs.
Model was not rigid without central spine
LED The circuit was attached
LED
model to allow the arm to fit inside the model.
3D panelling was constructed out of 200 gsm card allowing for high stress bends. The
LED
glue tape was not strong enough to hold the tight bends of the 3D panelling. Super Spine was connected using a combination
translucent plastic that LED
panelling. The panels were folded together and then attached onto the model.
ideal with the use of
LED
would be able to disperse light rays. REFLECTION
of tape and super glue
glue was therefore used to attach all 3D
Diffusion of light would be
FABRICATION
to the interior wall of the
IDEATION
FINAL MODEL How do different kinds of fabrication technologies make possible as well as constrain what can be constructed? Different types of fabrication technologies can achieve different outcomes. The most prominent types of fabrication (additive and limitations (Gershenfeld 2005). The subtractive fabrication used in this project
DESIGN
subtractive) both have their benefits and
allowed for 2D panels to be cut from a sheet of cardboard, where the panels could be connected to create a 3D object. While this process is generally inexpensive, it creates a considerable amount of wastage (a 56.1% final fabrication). It’s full potential was also limited in producing an quick physical 3D representation of my model as the design first had to be flattened into 2D, and fabricated back into 3D. This is where addictive fabrication technologies have many advantages such as the use of 3D printers which can create quick and accurate 3D
FABRICATION
wastage of cardboard was resulted in my
representations of digital models. This technique is generally expensive however, and cannot always be used for large scale fabrication (in terms of building construction, etc). Segerman (2012) did however raise an interesting point in which future technology could allow large scale 3D printers that could potentially build large scale designs (such as homes). Fleishmann (2012) also raised some important notes about how material can influence the fabrication process, and how we need to consider constraints to be fabricated from the available materials. Prototyping was an important step as it identified important refinements to the model that were needed to accommodate for the available materials. Thinking about material behaviour is what designers must constantly consider when developing their projects, as material limitations will prevent the physical reality of a design from being made.
REFLECTION
not only in the virtual world, but also in the physical world. This very much ties in with the material selection of my model, and ensuring that it will be able
IDEATION
REFLECTION I quite enjoyed completing this project as it exposed me to many things for the first time, and helped me develop a set of problem-solving skills. Initially, I was quite puzzled as to how I would develop my lantern through the context of a ‘natural process’. It took practice to change my way of thinking and break down barriers that were preventing any creative development. After breaking down this barrier, I was able to understand what I was doing and improve in each sequential module.
I was able to achieve. It really helped me create something that portrayed reason and ideology behind the deign concepts. By experimenting with different ideas and mediums, I was able to apply the groundwork for
DESIGN
Using the idea of cucumber tendril growth and form allowed me to create something that I had not imagined
the basis of my design: the concept of skin and fat being extruded from the tension of cucumber tendrils wrapping around the arm. Further development by using Rhinoceros helped me create an advance representation of the lamp. Tweaking and manipulation was made possible by the many tools of the software. I found the tools of ‘lofting’ ‘panelling’ began to prompt me for ideas of how the lantern would be unfolded and fabricated. The final fabrication proved to be the most lengthy component in the design process as it required a great
FABRICATION
and ‘sweeping’ really useful in aiding in the 3D design of the lantern. Further, the experimentation of
deal of problem solving and reiterations. It showed me how different mediums and fabrication techniques provided different outcomes, and my goal was to find the most optimal outcome for my lantern. After finishing the design process, I was able to reflect what I have accomplished this semester, but more importantly recapitulate the areas that I did not initially understand. Reviewing what was completed in the REFLECTION
Ideation Module helped me understand the theory behind what I was doing.
Performance Evaluation the fabrication surpassed my expectations as I was able to think of ways to implement efficient and structured connection techniques. The model was
IDEATION
I was quite pleased with the shape and form of the final model. The quality of
able to be worn on the arm as I had imagined it to when I was clay modelling. One of the main obstacles I faced was the positioning of the LEDs inside of the lantern. In order for the lantern to be worn on the arm, the LEDs could not obstruct the user. I therefore had to place the LEDs on the edges of the windows. This was not my most favourable outcome as the dispersion of reflected onto the surroundings.
DESIGN
the light so close to the windows would not allow for the patterns to be
I perhaps could have fixed this problem by implementing a ‘frosted’ translucent plastic on the windows of the lantern. This would help disperse the light more efficiently and reduce the ‘harsh’ light emitted by single LEDs.
FABRICATION
Harsh dispersion of light without any plastic
REFLECTION
Dispersion of light through ‘frosted’ translucent plastic
How do representations and their material realisations (or insights) be mutually dependent? the lantern itself. Without material realisation, it would be difficult to portray any sort of representation.
IDEATION
Throughout this semester, I have explored the use of different mediums to portray ‘representation’ of the natural process of cucumber tendril growth, and
The use of mediums such as clay helped form initial design concepts by allowing organic shapes to be formed. The use of Rhinoceros helped form a technical version of the lantern I was aiming to create, allowing for more advance manipulation of the model. The use of card and paper helped realise the final representation of the lantern in physical form. It is therefore evident that representations are mutually dependent to their material realisation. What are the learning outcomes of this subject and its relevance to your further studies and future? Virtual Environments exposed me to a new way of thinking, specifically in the area of design. After previously never have done any design work, I found and to understand design rationale as proposed by architects and designers.
DESIGN
the learning curve quite steep. As I’m hoping to major in construction management, I think it’s important to adopt an interdisciplinary way of thinking,
This subject has allowed me to experience full scale product design from development to fabrication. It has taught be to deal with many problems throughout the process such as dealing with design faults, material limitations and time constraints. These problems would very much occur in the construction industry, simply at a larger scale. Thinking in terms of scale has allowed me to apply many concepts that would be relevant in my future career. Perhaps the limitations of cardboard could correlate to the limitations of timber and steel girders. Similar design faults experienced in my model could be also be experienced in architectural designs and plans. Time management has also been an important factor as I had to prioritise everything in
One of the most valuable skills I have learnt this semester was the use of Rhinoceros as it has exposed me for the first time to computer technology in the use of 3D modelling. I was quite amazed with the abilities of the software as it allowed for the innovative development of my model. Macfarlane (2005)
FABRICATION
my design process to ensure deadlines were met, and that the final model could be fabricated in time.
points out particular constraints faced by architects, and how the aid of computer technology can overcome this by providing a much more advanced method of design and analysis that would perhaps not be able to be done manually. I think the software really represents the way architecture and design is heading in the 21st century, and the fact that I have now understood how this technology works would aid in my further career. The exposure of different fabrication techniques has allowed me to understand the benefits and limitations of each. I was able to experience the process complex digital architecture.
REFLECTION
that exists between digital representation to fabrication. The process would without doubt be useful in large scale construction, especially in the form of
REFERENCES Dixon, T 2012, Etch Web Light, photograph, viewed 6 September 2012, <http://royalepost.com/wp-content/uploads/2012/04/tom-dixon-lamps-01.jpg>. Fleischmann, M, Knippers, J, Lienhard, J, Menges, A & Schleicher, S 2012, Material Behaviour: Embedding Physical Properties in Computational Design Processes, D:Architectural Design, Wiley, 82 (2), March, pp. 44-51. Gainey, T 2012, Cucumis Sativus - Cucumber tendrils pattern, photograph, viewed 5 August 2012, <http://www.gapphotos.com/images/WebPreview/ 0148/0148768.jpg>. Gershenfeld, N 2005, Subtraction; Addition; Building Models, In FAB: The Coming Revolution on Your Desktop--From Personal Computers to Personal Fabrication, Basic Books, pp. 67-76; 93-101; 103-113. Guichard, A 2009, 30 St Mary Axe, photograph, viewed 6 September 2012, <http://upload.wikimedia.org/wikipedia/commons/9/9f/30_St_Mary_Axe.jpg>. Loh, P 2012, Material Spaces, Virtual Environments Lecture 4. Macfarlane, B 2005, Making Ideas. In Architecture in the Digital Age, B. Kolarevic (ed.), Spon Press, London, pp. 182-197. Russ, K 2005, Cucumber Tendrils, photograph, viewed 6 September 2012, <http://www.istockphoto.com/stock-photo-738157-cucumber-tendrils.php>. Segerman, H 2012, Abstract Spaces: Mathematical Art, Virtual Environments Lecture 3. Turns, MA 2009, Wild Cucumber Tendrils, photograph, viewed 6 September 2012, <http://www.pbase.com/miketurns/image/115907997>.
Virtual Environments Module 4 Jinwoo Jung 585694
IDEATION
IDEATIONTREE BARK:DEVELOPMENT AND GROWTH
The bark of a tree is consisted of 2 major parts; the inner and outer barks. The bark that we commonly refer to is the outer bark which are dead tissues that creates a protective barrier for the tree from the environment. The outer bark is formed due to its incapability to keep up with the pace of growth of the trunk.
and even among same species, influenced by external environments such as climate.
IDEATIONTREE BARK:DEVELOPMENT AND GROWTH
Usage of critical drawing analysis to explore the pattern of natural process within the inner bark provided design form to be initiated;
Through exploring various processes such as the inner & outer bark, as well as the maturity and growth in the form of the outer bark over time, the concept of a 'timeline' of life was formed. The usage of ascending size and dynamics of panels represents the process of maturity that reflects back to human being as well.
IDEATIONFORM DEVELOPMENT
Initiating proper form development with the assistance of clay, sketch and Rhino.
Influence of inner bark is implemented more heavily at this point. Exploration of Rhino: at this stage, I was still in the adjustment stage of getting used to the program. Techniques through the tutorials assisted in generating rough forms and idea generation.
IDEATIONFINAL CLAY MODEL By placing the most dynamic side towards the front, it gives a sense of protection like that of an armour, which is basically what the purpose of an outer bark is.
Incorporating the characteristics of both inner and outer bark, along with the concept of the process of life and maturity, the lantern is worn over the shoulders and chest area to show a dominant protective look, the panels leading towards the heart, the centre of life.
DIGITIZATION
DESIGNDIGITIZATION
Initially, parallel contour likes were plotted, but this resulted in unnecessary complexities in the digitization process due to the nature of the design form.
By using ring-like, non-parallel contours, accurate contour lines were able to be drawn into the clay model to create a desired digitized shape.
DESIGNPANELS Figure 1: John Curtin School of Medical Research- ANU. Very expressive design through the usage of digital rendering. The gradual shift of the glazed panels creates a sense of movement like that of a chronophotography - such motion is what is to be adapted into the lantern to represent the gradual transformation of the 'inner bark' to the 'outer bark'.
Figure 2: Times Eureka Pavillion. Discussed in the week 4 lecture, the precedent is closely related to the design contextual and conceptual wise. The influence of cellular structure that formed the pavilion provided good indicators oh how the panelling process could be approached, such as the use of ribs and offsetting of faces.
Various basic and customised 2D and 3D panel surfaces were explored, with the aim of an approach that can exemplify the course, rough nature of the outer bark and the soft, delicate spores of the inner bark. Fig.1
Fig.2
DESIGNFINAL
The transformation of the inner bark and the outer bark was achieved by the change of 2D panels into a double-sized 3D panel surface with the dynamics of the offsets controlled through point attractors.
Such design meant that not only will the physical model visualise the transformation of the stages of life, but so will the shadows formed by the lights.
DESIGNPROTOTYPE.1
The first prototype was built only for the purpose of testing out material and light exposure. Unrolling of the panels and organizing via colour allowed efficient construction without confusion. Vertical strips were unrolled separately, as unrolling the whole form created overlaps and difficulty in organization.
FABRICATION
FABRICATIONTEMPLATE Double-layering of surface: Every second 3D panels from each column that constitutes the front half of the design are doublelayered by using the neighbouring side of each panel as a tab to join it together. Although this was very time consuming as each panels had to be joined one by one and not in joint
columns, such method allows a clean model without any shades due to tabs and also plays an effect with the light, as the difference in thickness of the material means that when the LEDs are shone, the panels illuminate different intensities of light, creating another pattern in itself.
The final template that was to be printed out using the card cutter from the Fab Lab was efficiently placed into 5 pieces of 60x90 ivory cards. Each panels were labelled with numbers to avoid confusion.
During the construction process, it came to awareness that the base panel that was to hold and support the 2D and 3D sections together was in fact too weak to hold the model. Due to this reason, the base panels were re-printed, this time on a much thicker and stronger mount board
During the construction process, it came to awareness that the base panel that was to hold and support the 2D and 3D sections together was in fact too weak to hold the model. Due to this reason, the base panels were re-printed, this time on a much thicker and stronger mount board
FABRICATIONPROTOTYPE.2
The second prototype was very helpful in allowing many flaws and errors in the design to be identified and addressed, such as reevaluating the scale of my model as the model was smaller than I expected, the methodology on joining the 2D and 3D panel surfaces, and a template error where some of the templates were actually flipped, resulting in issues with folding the cutlines and resulting in unclean surface (wrinkles, loss of strength, etc.)
FABRICATIONFINAL In addressing the issue of the lack of strength in the joint of the two surfaces, initially the base surface of both sides were printed on mount board; however, another issue was the fact that on one side, the size of the opening end was too small to fit the opposing end.
To resolve this, I decided to permanently join one side by adapting the same methodologies with the 3D panels by cutting out the triangulated panels on the remaining mount board and making them the tabs , allowing both strength and different light intensities.
FABRICATIONFINAL The 3rd and final 1:1 model of the design proved to be much more challenging than the previous prototypes; whilst the many errors that was identified in the previous prototypes were addressed, the sheer size of the model and the remaining challenge of connecting the 3D and 2D panel sections together made the construction process very difficult. The panel offsets allowed more convenience by allowing the paper clips to be attached to fixate the panels together. The paper clips allowed the glued sections to hold together whilst also ensuring it didn't give too much pressure which may distort the shape and destroy the cleanliness of the model.
FABRICATIONLIGHTS 9 LED lights were embedded into the model, as the ring-shaped design meant the lights had to be distributed all around to avoid any lights being hidden.
The areas around the joints where mount boards were used was placed with more light emphasis to ensure that there was not too much contrast in
light intensity with the surrounding panels.
reflection
Reflection Virtual Environments has been a truly inspiring and thoughprovoking subject that also taught me various skills and lessons that would assist me in my future years of studying. What really got me to engage with this subject started off with the fascination of the selforganisation of the natural world (Ball 2012). By engaging with such concept, I was able to go in depth and observe the natural processes around us beyond just the visible side of it, and motivated me to think creatively. Skills such as analytical drawings, described thoroughly by the journal entry by Poling (1987), as well as how to use Rhinoceros, the FabLab, and effective ways to present ideas all assisted me and equipped me greatly to complete the design process. Existing precedents such as the Times Eureka Pavillion and the John Curtin School of Medical Research also proved to be key influences that made impact on the decision-making process, allowing me to realise the importance of observing existing projects within the environment to be motivated and influenced from.
Another reflection that I undertook was, as mentioned in previous reflections, the importance of prototypes to act as 'bridges' to connect the virtual and the real world together (Fleishmann et al. 2012). Making prototypes allowed me to identify numerous problems and errors that would have otherwise been unforeseen and hence caused major disruption in producing the final model. By identifying and fixing these problems at a smaller scale, the final construction stages was able to be carried out quite smoothly. Overall, Virtual Environments allowed me to grasp the methodologies and strategies used during the design process, whatever the project may be. It also highlighted the importance of engaging with the modern technology in order to understand the various advantages and disadvantages it holds, and how it allows the designer to be able to control their own tools to create an efficient, innovative and original design.
Bibliography Ball, Philip (2012): Pattern Formation in Nature, AD: Architectural Design, Wiley, 82 (2), March, pp. 22-27 Poling, Clark (1987): Analytical Drawing. In Kandiskyâ&#x20AC;&#x2122;s Teaching at the Bauhaus, Rizzoli, New York, pp. 107-132 Scheurer, F. and Stehling, H. (2011): Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 (4), July, pp. 7079 Fleischmann, M., Knippers, J., Lienhard, J., Menges, A., and Schleicher, S. (2012): Material Behaviour: Embedding Physical Properties in Computational Design Processes, D:Architectural Design, Wiley, 82 (2), March, pp. 44-51 Loh, P. (2012). Fabricating Spaces II. Presented at University of Melbourne on 10 th September 2012
Saya Junyao Ye Student Number:561911 Semester:2/2012 Group 12
CHAPTER ONE Tornado and Spiral Ideation
Ideation Natural Process Q: How do forms and contexts (of use and resources) influence each other? ‘Forms are computed by their environments since they are inseparably connected to internal constraints and external forces’(Fleischman, 2012). The concept of ‘self-organization’ refers to natural patterns result from mathematical analogies and equivalences in the rules governing their formation (Ball , 2012). I analyzed the form of tornado and spiral. A tornado is shaped like a funnel, also known as a vortex. It has a small bottom and wide top. This shape is the natural result of a fast-spinning body of fluid or air. The centrifugal force in a tornado vortex forces air and everything it is carrying out to the perimeter where some of it is thrown long distances, illustrated by the arrows. A logarithmic spiral is a special kind of spiral curve which often appears in nature. The reason may be construction from expanding similar shapes.
At the start of module one, we are asked to choose a natural process to explore and analysis. I chose tornado because this unique form interested me. Therefore, I started to analysis the form of tornado. A tornado is a violently rotating column of air that is in contact with both the surface of the earth and a cumulonimbus cloud or, in rare cases, the base of a cumulus cloud. Tornadoes come in many shapes and sizes, but they are typically in the form of a visible condensation funnel, whose narrow end touches the earth and is often encircled by a cloud of debris and dust. Tornadoes can be any size. Common terms for tornado shapes are: rope tornado (Skinny little tornado, often used to describe a tornado that is dissipating), elephant trunk (classic tornado shape), cone (just what it sounds like), stovepipe (a vertical column), and wedge tornado (a tornado which appears wider than the distance from cloud base to the ground).
Rope tornado
Elephant trunk
Cone
Ideation Precedent and Modelling â&#x20AC;&#x2DC;Analytical drawing was an investigation of the relationships among objects, following a series of stages that, briefly stated, involved progressively the simplification, analysis, and transformation of the graphic characteristics presented by the motif. The principle is to look at the constructive elements, the laws that govern the force. Analysis drawing has three stages which are simplification, analysis and transformationâ&#x20AC;&#x2122; (Poling , 1987). I learned analytical drawing from this reading and I did analytical drawings of the form of tornado to explore more possibilities of my design. As the diagram on the left, I drew several sketches of tornado and finally got a wavy surface.
Firstly, I drew the shape of tornado. Secondly, I drew the spiral curve of tornado. Thirdly, I turned to analysis the structure of tornado as several circles. Finally, I got a wavy surface.
I made the model of my design as a wavy surface. Then the EMP museum gave me an inspiration to adjust the shape of my lantern. The EMP museum is sheet-metal construction and the structure is twisted in both vertical and horizontal. I applied the two-way twisted form to my design as it is easier to be put on the shoulder.
Ideation Natural Process This spiral is related to Fibonacci numbers, the golden ratio, and golden rectangles, and is sometimes called the golden spiral.
Since tornadoes take on a spiral shape, I analyzed the shape of spiral which is also mentioned in the lecture of week one. The lecture is mainly about different kinds of nature process. I was inspired by the mathematic method which is used to analyze the spiral.
‘The logarithmic spiral can be constructed from equally spaced rays by starting at a point along one ray, and drawing the perpendicular to a neighboring ray. As the number of rays approaches infinity, the sequence of segments approaches the smooth logarithmic spiral’ (Hilton et al. 1997, pp. 2-3).
A logarithmic spiral, equiangular spiral or growth spiral is a special kind of spiral curve which often appears in nature.
I exploded more on the golden rectangle. I want the triangles grow regularly. So I use the smaller triangle’s height as the bigger triangle’s length and got the form.
The logarithmic spiral is a spiral whose polar equation is given by The logarithmic spiral is also known as the growth spiral, equiangular spiral, and spiral mirabilis. It can be expressed parametrically as
Ideation Precedent and Modelling Finally, I chose the model from spiral as my final design since the form is more interesting. I did a research on relative designs and found a structure of rotating triangles. This can represent the growth of triangles and it is suitable for my concept. So I applied this structure into my design. The concept of â&#x20AC;&#x2DC;self-organizationâ&#x20AC;&#x2122; is many natural patterns result from mathematical analogies and equivalences in the rules governing their formation (Ball, 2012). Then I turned to work out the pattern of my lantern. I was inspired by the rotated triangles as the pattern is plenty of lines diffuse from a same point to another line. This pattern also can represent growth of triangle, so I applied it to my design.
CHAPTER TWO Tornado and Spiral Design
Design Digitalize Digital Software allows more flexibility to users. It can express ideas accurately. Forms which are difficult to build by hand can be presented clearly by software. In addition, the refinement becomes easier by inputting commands. The limitation is that some forms which can be presented on the screen can be extremely difficult to build in reality. For example, my original design with circular pattern can be built by software, yet it is hard to be made manually.
Q: How do different media support different kinds of design inquiries and refinement? Different media can support different kinds of design inquiries and refinement. Drawing can transfer a concept to imagines, including pencil sketches, marker pen drawings or paintings. Drawings can allow exploration of ideas and refinement. The limitation is drawing may not be accurate enough and it is time consuming. Plastic modeling is more flexible and can allow refinement. Furthermore, it can be reused. The disadvantage is that it is not accurate and it is not good-looking.
I used the contour slicing method to translate my model into Rhino. However, this method does not work for my design. My model was a regular polyhedron, so that the contour slicing method cannot create a digital file to be accurate enough. So I explored other methods to input the model to computer. I used the curve on the top and the curve at the bottom from the contour slicing method to create a form. I also used a point on the top and the curve at the bottom to loft. However, the form became a curved polyhedron instead of a regular one. So I changed the curves to be polygons and got other two forms. Since the form needs to be a single surface, I changed those polygons to be curved lines and got the form. But it still remains the initial design concept which is the analysis of the growth of spiral.
Design Pattern and Development Several circles of different sizes
Week fourâ&#x20AC;&#x2122;s lecture is mainly about patterns in architecture design. According to the lecture, pattern is â&#x20AC;&#x2DC;a sequence, distribution, structure or progression, a series or frequency of repeating unit, system or process of identical or similar elementsâ&#x20AC;&#x2122;. There are two main functions of pattern. The first one is spatial device to abstract data. Another use is material organization. Then I worked on the pattern. I used analytical drawing to get the circular structure of tornado. The abstract structure of tornado gave me the inspiration to put the circles to a plane surface. Therefore, I got the initial pattern which is several circles in different sizes. Then I applied the pattern to the form. The first one is circular pattern. The second one is applied with several circles in different sizes.
According to the lecture, we need to find more possibilities of our designs and develop them. I tried other ways to make the form and pattern better. I added the number of curved lines to loft and got a more curved surface. In addition, I changed the pattern to be 3D instead of 2D. And I applied the pattern to the modified form. 3D circular pattern
Design Problem Solving So I kept the original shape and reduced the amount of control points to make the twisted surface smooth. However the crash cannot be fully solved.
Original
Original
Applied 3D custom
Reduced the amount of
variable command
control points
â&#x20AC;&#x2DC;Error-bound geometric operations are impossible to avoid in modelling, but knowing when and why these errors occur can help to improve the construction sequence instead of just readjusting the tolerance settings when Boolean intersection fails againâ&#x20AC;&#x2122; (Scheurer & Stehling, 2011). I checked my digital model and found that crash always happened since the surface was too twisted. Accordingly, I explored other ways to avoid crash. I used 3D custom variable option to make the pattern. The crash reduced but still remained in some parts of the model.
Applied 3D custom variable command
Reduced the amount of control points
Design Further Development I explored several other ways to solve this problem. I made a regular flower form and applied the pattern. I also used the pattern of quadrangle and pentagon. In addition, I used a regular surface which is not twisted, a regular star form and a mixed one of the flower form and the star form. Further development
Flower form
Not twisted
Quadrangle
Star form
Pentagon
Mixed
Design Prototyping
I chose the mixed form and applied the pattern. According to the lecture, exploring the light and shadow is important to know how the lantern will look like in reality. So I simplified the structure and made a prototype to explore the light and shadow.
Design Precedent The three metal spheres are named Sisyphus designed by Wendy M. Ross. They are built of conical elements that point towards the hollow centre. I did not know this precedent when I designed the initial pattern of my lantern. It is a coincident that my design is quite similar to this one which has the similar hollow circle pattern. The difference is this pattern is 3D while mine is 2D. I like this design because this work has a strong sense of stereo feeling. Furthermore, this design also inspired me to think about enhancing stereo feeling of my design is important. And I add gaps to the pattern in Module 3.
The Design Hub used a double-skin facade with a unique external skin that incorporates glazing disks. The disks in the outer facade have the capacity to be fitted with photovoltaic collectors for harnessing solar power. From my perspective, this building is not only impressive externally, but it is actually environment friendly. The circular patterns are arranged regularly and have strong visual impact. In addition, the glazing disks are like windows which can be switched. This design is amazing for changing the amount of light in the building and increasing the interaction between human and environment.
Design Further Development From circle to octagon
Exploring different patterns
According to the lecture, we need to explore all the possibilities of our design. Therefore, I used other ways to develop the pattern since it might be too hard to make the whole lantern with the circular pattern. I used pentagon, hexagon and octagon to replace circle and make the lantern easier to be built. I found octagon is most close to the circular pattern. Accordingly, I chose octagon and used hollow inside the octagon to imitate the circular pattern. Week threeâ&#x20AC;&#x2122;s lecture is a mathematician gave us a speech on the way he applied mathematics in design. It started from create the shapes guided by human to use pure mathematics functions. I also found mathematics very helpful in my design process.
Pentagon
Moreover, according to the reading Parameter Space, â&#x20AC;&#x2DC;every step in a computer program has to be completely and unambiguously determined by the previous stepsâ&#x20AC;&#x2122; (Scheurer & Stehling, 2011). I can only get the ideal result from the correct input. So I calculate the number of the vertical and horizontal points to ensure the pattern is unbroken. I have also used several ways to exam how to make my pattern looks better and I chose to use curve attractor option of offset broader and select curves in the middle. Therefore, the hollows are bigger in the middle and smaller on the top and bottom, which made the pattern to be variable and can create a more interesting shadow.
Hexagon
Octagon
Octagon formed by triangles Process of making the triangle panel
Design Prototyping
The lecture of week eight showed that model can represent space while prototype can show the functions on different level, test ideas and spatial value. According to the lecture, making prototype is a good way to exam the structure. So I unrolled the form into ten stripes and put them on 2 A3 papers to make the prototype. â&#x20AC;&#x2DC;Material behaviour computes formâ&#x20AC;&#x2122; (Fleischmann, Knippers, Lienhard and Schleicher, 2012). Considering of the material to make it, firstly I choose to use paperboard to make it hard. Considering it might be too heavy for the structure to build by board, I changed my idea and used 220g white paper to build it, which is hard and light.
CHAPTER THREE Tornado and Spiral Fabrication
Fabrication Tabbing
Q: How do different kinds of fabrication technologies make possible as well as constrain what can be constructed?
However, it cannot cut the sharp edges of my file. So I can only cut them manually. Laser cutter can cut accurately; however, the paper was burnt which is not clean enough.
Sign cutters are relatively cheap and easy to use, but they are limited to materials that a knife can cut through. Laser cutter can move very quickly and make cuts as narrow as the focus of the beam, but it can ignite everything around the spot, up to and including the building. A water jet can cut a clean surface, but it is seeing one in action. An NC mill is that the tool has an end, allowing it to cut to a carefully controlled depth. But the tool is dull, or is moving too fast or too slow, or isnâ&#x20AC;&#x2122;t properly lubricated, it will cut poorly (Gershenfeld, 2005). I build the first prototype by hand making and I found it is time consuming and not accurate. Compared with hand making, digital 3D machines can save time, minimize labor and cost. In addition, it can cut the card accurately and efficiently. I have used card cutter as well as laser cutter in fablab to make prototypes. Card cutter can remain the cleanness of the paper.
Tabbing After that, I added tabs to those unrolled stripes. Since I only want to add tabs to one side, I did it manually which took a long time. However, since the tabs are too small, considering it might be too hard for me to stick them. I used Grasshopper to rebuild the tabs to be bigger. Scaling When it comes to the real model, I started to think the scale of my lantern. Considering I want the lantern to be a hat, I scaled the height to be 300mm. Nesting I put those unrolled stripes most efficiently on two 600*450 papers. Material I chose the ivory card to be the material this time, since I wanted my lantern to be white and hard.
Fabrication Prototyping
According to the lecture of week eight, the prototype has many useful functions, which including testing ideas and spatial value. My full scale prototype showed that full scale of my digital model and how it will be worn. I chose to wear it on the head, so I measured the radius of the bottom to ensure the size is suitable.
Fabrication Further Development
A eightpyramid
Other 3D patterns
Pattern with the curves of the octagon
With two eightpyramids on the opposite sides
â&#x20AC;&#x2DC;As digital projects have provoked complex form problems, the technical responses needed to build them have become a lot more sophisticated. This has brought about a greater interest in how a thing is realized. Ultimately, how the idea is somehow tested and developed becomes, with each project, an important factorâ&#x20AC;&#x2122; (MacFarlane, 2005). Therefore after fabricating the full scale model, I did some further development of my design. I changed the 2D pattern to 3D to exam what will happen. I turned the flat octagon to an eight-pyramid made by 3D library and the surface became quite interesting. Furthermore, I have also tried other 3D patterns, such as pyramid and box. And I have also built the pattern with the curves of the octagon. Finally, I found that building the form with two eight-pyramids on the opposite sides is the best way to develop the pattern. So I developed the design in this way. Therefore, I got my developed lantern. According to the lecture of week nine, digital technology is extremely important for design, which can change the design approach and allow more freedom for designer. I found that digital technology can save more time and allow more freedom for design. Since I wanted to build the lantern as a hat, I added a bottom to the lantern to be easier to wear.
Fabrication Unrolling The process of unrolling the lantern is quite hard. I tried many ways by unrolling vertically and horizontally. And I failed many times since the surfaces may get crash. Finally, I found unrolling the first six stripes horizontally and the rest vertically can solve this problem. Furthermore, since the lantern is a form with pyramid on the opposite sides, I need to unroll two sides of surfaces. The lecture illustrated the usefulness of Grasshopper. I chose Grasshopper to build it and the process became easier and faster. ‘Equality fabrication’ is a process without waste (Gershenfeld, 2005). I nested the file to save material and put the stripes on 3 cards. ‘Digital design and fabrication challenges traditional division of labour’ (Gershenfeld, 2005). I found that I saved a lot of time since I used the fablab to cut my card board instead of cutting manually.
Fabrication Prototyping
â&#x20AC;&#x2DC;As digital projects have complex form problems, the technical responses needed to build them have become a lot more sophisticated. This has brought about a greater interest in how a thing is realized. Ultimately, how the idea is somehow tested and developed becomes, with each project, an important factorâ&#x20AC;&#x2122; (Macfarlane, 2005). My initial fabrication of the inner part was not successful since many sides did not stick well. As a result, I rebuilt the inner part. And this time, it became better. Furthermore, since I need to stick the inner part and the outer part together, it is really a challenge for me to fabricate. Finally, I found the model is buildable. But it is just hard to stick well because of the double-side pattern.
Fabrication Further Development and Unrolling
Flat gap
Prominent gap
In module 4, I tested making eightpyramid more prominent and I found that the lantern looked better in this way. Therefore, I unrolled again. This time I tested unrolling horizontally and found it works. Furthermore, I used Grasshopper to add tabs and nested to reduce waste.
Fabrication Fabrication
The process of fabrication became extremely hard for me. Since the eight-pyramid became more prominent, the full scale model became harder to be built. I spent three days to finish the fabrication. It is very difficult to stick the inner part and the outer part together since each pattern is a 3D structure. Finally, I finished the fabrication.
Fabrication Outcome
Fabrication Outcome
Mitchell(2000) highlighted the growth of pervasive computing and ‘smart, attentive, and responsive places’ . In my opinion, a ‘smart, attentive and responsive’ lantern could be able to turn on when people walk close it and turn off when people walk away. In addition, users can change the colors of the light according to their mood. Accordingly, I chose the light which can change colors.
Fabrication Precedent The Swanston Academic Building is a landmark of Melbourne. I like the striking multicoloured geometric facade which features on all sides of the building. The geometric facade is made by 3d surface of flat triangular panels. It has a strong sense of stereo feeling and good visual effects. From a functional viewpoint, the facade provides its own unique views outward whilst providing shading to limit the unwanted heat gained from direct sunlight.
The space frame (by Davide Del Giudice and Andrea Graziano)is the exhibit on display in aast installation for advanced architecture settmo Tokyo exhibition. I was particular interested in the space frame and used similar triangular panels in my design. The structure is an installation of a 3D surface of flat triangular paper panels â&#x20AC;&#x153;massiveâ&#x20AC;? unrolled on plane and realized with laser cut technologies. The triangular panels create a 3D pyramid surface configuration with parametric holes in the interior faces that have dimensions which follow distances from centric areas faces and one point attractor defined by user. While the pattern of my design is a 3D octagon surface created by triangular panels.
Reflection Q: How do representations and their material realizations (or insights) may be mutually dependent ? Representations and their material realizations are highly dependent on each other. The material realizations are based on their representations and representations cannot show the meaning without their material realizations. The relationship of representations and their material realisations is what we have been explored throughout the duration of this semester Representations are the abstractions from natural process. In Module 1, I did many researches to understand the form of tornado and spiral. In addition, analysis drawings inspired me to extract the important essence of the natural process to get the representations of natural process. The material realizations are based on their representations. I got the form and pattern of my lantern from the representations of tornado and spiral. It means the material realization cannot exist without their representations. Can representations exist without the material realizations? From my perspective, the meaning of the representations cannot be shown without their material realizations. For example, the abstraction of tornado and spiral cannot be expressed without the form and pattern of the lantern. Therefore, representations and their material realizations are mutually dependent.
Reflection Q: What are the learning outcomes of this subject and its relevance to your further studies and future? I learned the entire process from design to fabrication from this course. Firstly, I learned how to evaluate, analyze and abstract nature process. I analyzed the tornado and spiral. From the analysis drawing, I got the form and pattern. Secondly, I also learned to be inspired by precedents. From these precedents, I found the way to improve my design. For example, I learned I need to develop the 2D pattern to 3D from the Sisyphus. Thirdly, basic skill in Rhino 5 is another important skill I have learnt from this subject. From a beginner to become a practitioner, I have learnt the basic commands in Rhino5 to create forms and apply patterns. Fourthly, I developed high level of problem solving skill from solving the crash on the original design. I used many methods to solve the problem including 3D custom variable command, rebuilding the surface, reducing control points, exploring other forms and patterns. Finally, I solved the problem. Fifthly, I learned design is a process which will never end. I kept on developing the form and the pattern from Module 1 to Module 4.
For example, I added gaps to the original flat form in Module 3 and I made the gaps more prominent in Module 4. From these exploring, I developed my design skills. Sixthly, I developed the fabrication skill. The prototypes were extremely hard to build since the gap between the inner part and outer part made it difficult to stick them together. From the struggling fabrication experience, I learned to be patient and increased my fabrication skill. Seventhly, I learned to apply the knowledge from lectures and readings. I found the knowledge is very useful and can help me to develop my design. For example, the lecture illustrated the functions of prototype and I found that prototype has spatial value indeed. I plan to study architecture in the future. The skills I learned from this subject are extremely useful for my future studies. For example, the basic skill in Rhino can allow me to step forward closer to the architectural design profession. Furthermore, high level of problem solving skill can help me to solve other problems which may occur in the design process. Fabrication skill can help me to make models in my future studies. Finally, critical analysis skill can help me to apply the knowledge of lectures and reading to my design.
References Ball, Philip (2012): Pattern Formation in Nature, AD: Architectural Design, Wiley, 82 (2), March, pp. 22-27. Poling, Clark (1987): Analytical Drawing In Kandiskyâ&#x20AC;&#x2122;s Teaching at the Bauhaus, Rizzoli, New York, pp. 107-132 Fleischmann, M., Knippers, J., Lienhard, J., Menges, A., and Schleicher, S. (2012): Mateial Behaviour: Embedding Physical Properties in Computational Design Processes, D: Architectural Design, Wiley, 82 (2), March, pp. 44-51. Scheurer, F. and Stehling, H. (2011): Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 (4), July, pp. 70-79. Gershenfeld, N. (2005): Selected extracts In Fab: The coming revolution on your desktop - from personal computers to personal fabrication, Basic Books, New York, pp 67-76, pp93-101, pp103-113 Mitchell, W. (2000): Software: New Genius of Place In e-Topia, MIT Press, Cambridge, MA, p. 42-68 http://en.wikipedia.org/wiki/Tornado http://wiki.answers.com/Q/What_are_the_shapes_of_tornadoes http://en.wikipedia.org/wiki/Spiral
MODULE4REFLECTI ON 585188TONYHUYNH GROUP12-MI CHAELWU
“ Thes eor gani z edar r ay sof el ement sar i s es pont aneous l y f r omt hei nt er ac t i onsbet weent hei rmanyc omponent par t s ” Phi l l i pBal l ( 2012) Th e r mo d y n a mi c sa n dt h ei d e ao f e n t r o p yc a nb e e x p r e s s e da st h ep a t t e r ni nwh i c ha l l p a t t e r n se me r g e . I t i st h ep r o c e s so f p r o c e s s e s , a n dn e i t h e rh a sar e s u l t n o raf o r m. Fu n d a me n t a l l y , t oc a p t u r ewh a t i sk n o wna s ‘ e me r g e n c e ’ a n dv a g u ec o n c e p t ss u c ha s‘ c h a o s ’ a n d ‘ s t a b i l i t y ’ s e e me dt r i c k yt oa c c o mp l i s hwi t hr e g a r d st o f e a s i b i l i t ya n dh o wc o n v i n c i n gt h ef i n a l p r o d u c t i s .
Toc o n c e p t u a l i z et h ei n i t i a l i d e a , I a p p r o a c h e dt h ec o n c e p t f r o md i f f e r e n t a n g l e su s i n gd i f f e r e n t me t h o d s , a n d e v e n t u a l l ye n d e du pwi t ht h r e e‘ l a y e r s , ’ wh i c hwe r et h e nf u r t h e rd i s t i l l e da n ds y n e r g i z e d . Be i n gav a g u ec o n c e p t wi t h o u t f o r m, “ d i g g i n gd e e p u n d e rt h es u r f a c e ”a sBh a r a t p u t si t wa sh a r df o rmet o g r a s pa t t h es t a r t , s oI f o u n dt h a t s t a r t i n gwi t hs o me t h i n g wa sc l o s e rt omet h a ni t wa st h ec o n c e p t h e l p e di nt h e s t a r t i n go f t h ei d e a t i o np r o c e s s . Th i sf i r s t a p p r o a c ht h a t I t o o kwa st h eu s eo f Ki n e t i c Ty p o g r a p h y , wh i c hi sav i s u a l mo v i es t y l et h a t u s e s wo r d sa n dt h e i rl i t e r a l me a n i n g . I e n j o yKi n e t i c Ty p o g r a p h y , b e i n gaf a no f wo r dp l a ya n dh a v i n ga l i t e r a l p e r s o n a l i t y , t h i swa smywa yo f a d d i n gmo r eo f ‘ my s e l f ’ i n t ot h el a n t e r np r o c e s s , t ot r u l yc r e a t e s o me t h i n gt h a t i smi n e .
Ti mei sr e p r e s e n t e dc o n c e p t u a l l ya sac l o c k , a n dl i t e r a l l y , a st h ep o s i t i o no f t h ee l e me n t sma r k swh e r et h e ya r ei n t h et e mp o r a l s c a l e , i n t e r a c t i o n sb e t we e nt h ee l e me n t si s wh a t h a p p e n so v e r t i me . T h e r ea r el a r g e r a n dmo r ee n e r g y i n t e n s i v ei n t e r a c t i o n sa swe l l a ss ma l l e r o n e s , a l l wi t h i na n e n e r g yb u d g e t t h a t t h es y s t e mh a s . I nt h ee n d , a l l t h a t i s l e f t i sas i n g l eb e i n g . Us i n gwo r d si np l a c eo f a n yv i s u a l d i a g r a mss e e me dl i k ea ni n t e r e s t i n gs t a r t i n gp o i n t b e f o r ea n yd r a wi n g sa r e a c t u a l l yd o n e , t ol i t e r a l l y , v i s u a l i z el i t e r a l l ywh a t t h ec o n c e p t i s . I np l a c eo f a n yd i a g r a ms , I ma p p e dt h et h e e l e me n t so f t h ee n t r o p yc o n c e p t , l i t e r a l l y . Al l p r o c e s s e sh a v ea no r d e r , l i k ef r o mo n es t e pt ot h en e x t , s a meg o e s f o rs o me t h i n gl i k ee n t r o p ya n dt oe s t a b l i s ht h i sh i e a r c h y , I d e i d e dt ou n r o l l t h et y p o g r a p h i cd i a g r a ma n da b s t r a c t i t u s i n gl i n e s .
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Bh a r a t p o s e st h ei mp o r t a n c eo f ‘ Qu e s t i o n i n g ’ i nl e c t u r e s , a n dt h i n k i n go f wh a t i f sc o n s t a n t l ya n dv i s u a l i s i n gs u c h o u t c o me si no r d e rt oe f f e c t i v e l yr e a c ha ni ma g i n a t i v ec r e a t i o n . On eo f t h e s ei n t e r e s t i n gwa y so f r e p r e s e n t i n gt h e r e l a t i o n s h i pb e t we e na ne v e n t a n daf e e d b a c kr e s p o n s ewa si n t r o d u c e db yt h ee x a mp l eo f c e l l p h o n ea c t i v i t y v e r s u sg o a l ss c o r e di nt h ewo r l dc u pf i n a l si nt h ec i t yo f Ro me . Th e‘ c e l l p h o n e ’ a c t i v i t ywa sma p p e da g a i n s t t i me , a n dt h i sr e l a t i o n s h i pwa so n et h a t I f o u n dg i mmi c k yy e t a l s oc r e a t i v e . En t r o p yi sad e s c r i p t i o no f e n e r g y , wh i c hi su s u a l l ys y n o n y mo u sf o rh e a t , u s i n gt h i sr e l a t i o n s h i pI e x p l o r e dt h e e n t r o p yo f as ma l l c o n f i n e ds y s t e m; i c ec u b e sd r o p p e di n t oag l a s so f h o t wa t e r . T i me
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I d e r i v e da ni n i t i a l i d e at h a t i sl o o s e l yb a s e do nt h ec o n c e p t o f r i b b o n s Th ef o r mo f a l l o f o u rl a n t e r n sh a dt ob ed e v e l o p e d i n t e r a c t i n gi na no r g a n i cma n n e rb e f o r ef o r mi n gi n t oamo r eg e o me t r i cs h a p e . t h r o u g has e r i e so f a b s t r a c t i o na n di n t e r p r e t i v e I f e l t t h a t t h e r en e e d e dt ob eab e t t e rd i s t i n c t i o nb e t we e nt h es t a t e s , s oI r e p r e s e n t a t i o n so f o u rc h o s e nn a t u r a l p r o c e s s e s . e x p l o d e dt h eb o t t o ma n dt h i n n e do u t t h et o p Fo rmyp r o j e c t , I h a da p p r o a c h e dt h et o p i cf r o m t h r e ea n g l e s , g a t h e r i n gad i f f e r e n t p i e c eo f t h e b i g g e rp u z z l et h r o u g he a c ha p p r o a c h . I f e l t t h a t k n o wi n gt h ewh o l en a t u r a l p r o c e s sf o c u swa sg o i n g t oe v e n t u a l l yb ec o n v e r t e dt oag e o me t r i cmo d e l a n y wa yh i n d e r e dmya b i l i t yt ot h i n kmo r en a t u r a l l y i n s t e a d . I t wa saf e e l i n gt h a t wa sk i n do f l i k ei f i t i s g o i n gt oe n du pg e o me t r i c , wh yd e s i g nn a t u r a l l yi n t h ef i r s t p l a c e , b u t t h r o u g hmyv a r i o u si n t e r p r e t a t i o n s o f myc o n c e p t o f e n t r o p y , I c a met oa p p r e c i a t et h e f r e e d o ma n dv a r i e t yt h a t wo r k i n gwi t hs o me t h i n g mo r en a t u r a l g i v e s . Mo v i n go nt ot h ec o n t e x t o f t h el a n t e r nh a v i n gt ob ewo r n , I f o u n di t wa se a s i e rt od e s i g n , k n o wi n gwh e r et h eo b j e c t wi l l b ep l a c e d . J u s t g o i n gt h r o u g hi d e a sa n dwh e r et h e y c o u l dp o s s i b l yf i t , I p r e d i c t e dt h a t t h eh e a dwo u l db et h e b e s t o p t i o na si t h a st h el a r g e s t a mo u n t o f a r e at or e s t s o me t h i n go n , wh i c hme a n st h el a n t e r nc o u l dp o t e n t i a l l y b eb i g g e ra n db ea b l et of i t mo r ed e t a i l . Ho wi t a f f e c t e d t h ef o r mwa swi t ht h ep l a c e me n t a n dh o wi t wo u l da t t a c h o nt oo u rb o d i e s . Th i sa c t u a l l yh e l p e db i r t ht h ei d e ao f t h e e x p l o s i o no f r i b b o n sa t t h eb a s eo f t h emo d e l . I nt h i sc a s e , Side Front t h ec o n t e x t e n a b l e dt h ee x p a n s i o no f t h ei d e a , wh i l et h e f o r mb e c o me sr e s t r i c t e di ns i z e .
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“ Pat t er nsar es pat i al , not onl ydot heyhav e mat hemat i c al , g e o me t r i c a l o r p h y s i c a l f o r ms , b u t q u a l i t a t i v ea s p e c t sa swe l l . ” Paul Low( 2012) I nd e r i v i n gp a n e l l i n gi d e a st h a t f i t t h ec o n c e p t o f e n t r o p y , I wa si n s p i r e db yPa u l ’ si n t r o d u c t i o nt op a t t e r n sa n do f a ne x a mp l eo f ar o o ma n dwo r kh eh a sp r e v i o u s l yd o n e wh i c ha l l f o c u s e do ns h a d o wsa sac e n t r a l d r i v i n gp o i n t f o rt h ef i n a l p r o d u c t . Th eq u a l i t a t i v ea s p e c t so f p a t t e r n s s h o u l da l s ob ec o n s i d e r e d , s u p p l e me n t i n gt h ep h y s i c a l p r o p e r t i e sa swe l l . So me t h i n gl i k es h a d o wss e e msl i k e av e r yp o we r f u l q u a l i t yy e t n o t s o me t h i n gt h a t i st h e f o c u so f p e o p l e ’ sa t t e n t i o ne v e nwi t hl a n t e r n s . He n c e , I wa n t e dmyp a n e l l i n gt oe mp h a s i z et h eq u a l i t y o f t h es h a d o wt h a t i t wo u l dp r o d u c e . Bu t i na d d i t i o nt o t h a t , t h ep h y s i c a l p r o p e r t i e so f t h el a n t e r ns h o u l da l s o b ed e f i n e de n o u g ht oh o l do nt h e i ro wn . Ex p a n d i n go nt h ep h y s i c a l d e s i g no f myl a n t e r na n dt h e i mp o r t a n c eo f ah i e a r c h y . Fo c u s i n go nt h ec o n c e p t o f c e n t r a l i n s p i r a t i o no f ‘ o r d e rt h r o u g hc h a o s , ’ I wa n t e dt o r e p r e s e n t t h et h i st r a n s i t i o nu s i n gap a t t e r n , u s i n gt h e s h a d o wsa n dt h eq u a l i t yo f t h e s es h a d o ws . Wh e no n et h i n k so f c h a o s , ac o mmo nt h o u g h t i st h a t o f d e s t r u c t i o n , I d e c i d e dt oe x t r a c t ap a t t e r no u t o f b r o k e ng l a s s . Wh i l et h e r ei sn oe x a c t p a t t e r n , t h e r ea r e r u l e st h a t t h eg l a s sf o l l o ws , t h es h a r d sb r e a ks o me wh a t s t a g g e r e d , a n di t i sa si f t h es h a r d sc o n t i n u et oc l i n go n t oe a c ho t h e r , t h a t i st h eq u a l i t a t i v ep r o p e r t ya n dc h a o t i c s t a g eo f t h ep r o c e s s . Gl a s si t s e l f i sa l s oq u i t es t u r d y , wi t h t h es t a b l es t a t eo f e n t r o p yr e p r e s n t e db yt h emo l e c u l a r s t r u c t u r eo f g l a s s , wh i c hi sg e o me t r i c a l l yr e p r e s e n t e da s h e x a g o n s .
Pl a y i n ga r o u n dwi t hs o mep a p e r , I e x p e r i me n t e d wi t ht h et y p e so f s h a d o wst h a t s o me t h i n gl i k e t h i swo u l dc a s t , wh i l ei t i so n l ya2 Dp r o j e c t i o n , s o me t h i n gs h o u l db ea c h i e v a b l ei nt h e3 Dp l a n e a swe l l .
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Left-Th i si ma g ef o c u s e so nt h e3 Dp r o p e r t i e s o f g l a s ss h a r d sa sg l a s sh a sd e p t h t o o . Bel ow-Th ep a t t e r no f h o wg l a s ss h a t t e r si s n o t aad i r e c t o n et h a t c a nb ee x t r a c t e d , b u t s i mi l a r yt oe n t r o p y , i t h a sr u l e s .
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Left-most-Ro u g hc l a ymo d e l o f i n i t i a l i d e a Left-Co n t o u rmo d e l , a p p r o a c h e d a sao v e r a l l f o r mmo d e l wi t ht h e r i b b o n sd r e wo n
Wi t hav a g u ei d e ao f t h ef i n a l mo d e l i nmyh e a da l r e a d y , a n dh a v i n gb u i l t av e r ys ma l l mo d e l f o r t h ei d e ag e n e r a t i n g p r o c e s s , I h a dq u a l msg o i n gi n t ot h et h ec o n t o u rmo d e l . Do i n gi t t h ep r e s c r i b e dwa yj u s t wo u l dn o t b ee f f i c i e n t . So , I a p p r o a c h e dmyc o n t o u rmo d e l i nad i f f e r e n t wa yt o s i mp l i f yt h ep r o c e s s . I c o n s t r u c t e dt h eg e n e r a l s h a p e u s i n gan e ws p a p e rb a s ea n dma s k i n gt a p ea t a1 : 1 s c a l et or e d u c et h ea mo u n t o f s c a l i n gn e e d e d . Th i smo d e l wa st h e nc u t u pi n t os e c t i o n s , t h er i b b o n s t r a c e d , s c a n n e d , a n dp l a c e di n t or h i n owh e r et h e s e c t i o n a l c u t so f t h er i b b o n swe r et r a c e da g a i n . Th es h e e t swe r et h e nr e t r a c e di nr h i n o , s h o wni nr e db e l o w, t h e s ewe r et h e n l o f t e d .
Rhi noRenderofI ni ti alModel Th et o ph e x a g o n a l p a r t t u r n e do u t t ob e u n e x p e c t e d l y s ma l l
Th el o f t i n gs e q u e n c ewa si n h i b i t e db yt h ea b i l i t yo f r h i n ot od e d u c et h er i b b o nf o r mst h a t I h a di ma g i n e dd u et oi t s mi n i ma l a mo u n t o f o p t i o n st of i t t h el o f t e ds u r f a c et ot h ec u r v e s . L o o s ewa st o ol o o s e , y e t n o r ma l wa st o ot i g h t o f af i t . Th et i g h t n e s so f t h er e s u l t i n gr i b b o n sc a u s e dt h e‘ s t e a d ys t a t e ’ t ob en a r r o we rt h a nf i r s t c o n c e i v e d , wh i l et h e c h a o t i cs t a g ewa sb l o wnu p . Sc h e u r e r&St e h l i n g ’ sL o s t i nPa r a me t e rSp a c e ?( 2 0 1 1 )t o u c h e do nt h et h ei d e ao f t h el i mi t st h a t ap r o g r a m i n h e r e n t l yh a s , c o u l db eac h o k ep o i n t , b u t c o u l da l s ob ea no p p o r t u n i t y . Th es u c c e s so f ma n yp r o g r a msc o me s wi t hwh a t t h e ya r ed e f i n e dt od o . Th i sp a r a me t e rs p a c ef r o mwh i c ht h e s el i mi t se me r g ee f f e c t i v e l yl i mi t o rc r e a t e o u t c o me st h a t we r en o t i ma g i n e da t f i r s t . Re g a r d l e s s , u n d e s i r a b l eo u t c o me sr e q u i r e dt h ei n p u t me t h o dt ob e c h a n g e d , t h ea b s t r a c t i o na n dr e d u c t i o nc o n c e p t st h a t Sc h e u e ra n dSt e h l i n gd i s c u s sa r ej u s t t h i s . Wh a t a r eo t h e r wa y st oa c h i e v et h es a meo u t c o me ?
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Left-Th er u l et h a t I h a dd e v e l o p e df o rt h e myd e s i r e dp a n e l st owo r k , u l t i ma t e l y , e v e r y t h i n gn e e d e dt ob eb r o k e nu pi n t o t r i a n g l e s , a n do n l yo n es i d eo f a n yt r i a n g l e c a nb ea t t a c h e dt oa n o t h e r , t h i se n s u r e d t h a t t h ep a n e l sa c t u a l l ywo r k e d
Abst r act i on: “ Ap e r f e c t mo d e l d o e sn o t c o n t a i na smu c hi n f o r ma t i o n a sp o s s i b l e , b u t a sl i t t l ea sn e c e s s a r yt od e s c r i b et h e p r o p e r t i e so f a no b j e c t u n a mb i g u o u s l y . ” Reduct i on: “ , i snot aboutr educ i ngt heamount of i nf or mat i on but r at herabout f i ndi ngt heopt i mal wayt ot r ans por t i t , henc er ewr i t i ngt hedes c r i pt i onwi t hout al t er i ngt he c ont ent . ” Sc heur er&St ehl i ng( 2010)
T h ec u s t o mp a n e l c r e a t o r l i mi t e dt h ep a t t e r n st ob ec r e a t e do nag r i d , a n dt or e p r e s e n t myc r a c k e d g l a s s t o h o n e y c o mbr e s u l t e di nn u me r o u sf a i l swh e nt h et h ea c t u a l p a n e l l i n g wa sa t t e mp t e d . T h ema i nr e a s o nf o r t h i si sd u et ot h ec o mp l e x i t yt h a t I wa st r y i n gt oc o n v e yi n t ot h ep a t t e r n , a swe l l a sami xo f n o t b e i n ga b l et oc r e a t et h es h a p e st h a t I wa n t e d , wh i c hi n i t i a l l yr e s u l t e di nt h ev e r ya wk wa r ds h a p e s . . Ag a i n , f r o mSc h e u r e r a n dSt e h l i n g ’ sp i e c eo nI Tp a r a me t e r s , i t wa sc r u c i a l t h a t I ‘ s i mp l i f e d ’ h o wt h ei n f o r ma t i o nwa sd i s p l a y e d , t h r o u g hAb s t r a c t i o na n dRe d u c t i o n . T h el i mi t st h a t we r ep l a c e do nmewe r et h eu s eo f t h eg r i d , a n dt h ewa yt h a t t h eg r i da r r a y so v e r l a yo nt o p , I f i n a l l yr e a l i z e dt h a t i t h a dt ob e a b s t r a c t e di n t ot r i a n g l e s , a n dt h a t t h et r i a n g l e sc a no n l yb ej o i n e dt oo t h e r wh o l et r i a n g l e s . Ev e na f t e r k n o wi n gt h i s , n u me r o u sp a n e l l i n ga t t e mp t sf a i l e db e c a u s et h e r ewe r et o oma n y s u r f a c e sf o r i t t ob ep r a c t i c a l . Bu t t h r o u g hf u r t h e r o p t i mi s a t i o na n dr e d u c i n gt h ei d e ad o wnt oama n a g e a b l el e v e l . T h i sa l s ol e dt ot h er e mo v a l o f ad e p t hs e n s ei nt h ep a n e l s , c o n t r a r yt omyi n i t i a l i d e a , t h es e c o n ds k i nt h a t I h a dc r e a t e df i l l st h eg a pi nt h a t a r e a . Left-I n i t i a l p a n e l l i n g Bel ow-Th ec o mp l e xme s s t h a t r e s u l t e df r o mt h e i n i t i a l p a n e l l i n g
Both-Ev e na f t e rf i g u r i n go u t t h er u l e , i t wa ss t i l l mu c ht o oc o mp l e xt ob e a p p l i c a b l e
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Pa u l L o w’ sl e c t u r eo nMa t e r i a l Sp a c e ss h o wna ne x t e n s i v e p h a s eo f i d e ag e n e r a t i o nwi t ht h e i r p a n e l l i n ge q u i v a l e n t o f t h ep l a n t l e a f s t o ma t a . Re c o g n i s i n gf a u l t sa n db l o c k swh e r e t h e r ed o e s n ’ t s e e mt ob ea n yi si mp o r t a n t . I nt h ee n d , h o w wi l l t h i st h i n gwi l l b eb u i l t ?I nmys i t u a t i o n , l e a v i n gi t a t a c e r t a i ns t a g eo f p a n e l l i n gwo u l dh a v el e f t t h ef i n a l p r o d u c t t oh a v et o oma n ys u r f a c e s . Go i n gb a c ka n df o r t h , a n d a d d r e s s i n gi s s u e si sa l s oawa yo f g e n e r a t i n gn e wi d e a s , a n ds o me t i me s , i t i sj u s t a si mp o r t a n t t ot a k eas t e pb a c k wi t hwh a t o n eh a sa n dt or e t h i n ki t t h r o u g h .
I e x p e c t e ds t r u c t u r a l i s s u e swi t ht h emo d e l d u et ot h e n u me r o u sf o l d so f s o mer i b b o n s , wi l l t h e yb ea b l et oh o l d u pt h e i ro wnwe i g h t ?I d i dn o t wa n t t or i s kg o i n gi n t ot h e f a b r i c a t i o ns t a g et ot h e nc o r r e c t t h e s ei s s u e s .
Ri ght-Pa p e rwi t h o u t a d d i t i o n , s a g smo r e Bel ow-Pa p e rwi t h a d d e ds e c t i o n , h o l d s s h a p eb e t t e r
I e x p e r i me n t e dwi t has i mp l ef o l do f p a p e r , a n df o u n d t h a t i t i n d e e dd o e ss a go v e rt i me , b u t t h ec h a l l e n g ewa s h o wt oa d dt h eb r a c ewh i l ek e e p i n gwi t ht h et h e mea n d s t y l e ? Th a n k st ot h eh o wt h ep a n e l l i n gt u r n e do u t , t h e s ev e r t i c a l b r a c e sc o u l db ea d d e d , j u s t t r i a n g l e si nb e t we e ns e c t i o n s t oh a l t v e r t i c a l mo v e me n t . Wi t hi s s u e s , a l s oc o me s o p p o r t u n i t i e s .
Pa p e ri sav e r yl i g h t ma t e r i a l , a n dwi t h1 mmt h i c k , i t c a n b eq u i t es t r o n g , b u t wi t hi t , ab i t o f we i g h t wh e nu s e di n e x c e s s . Fl e i s c h ma n ne t a l . t a l k sa b o u t t h ema t e r i a l i n f l u e n c i n gt h ef o r m. Wh i l et h i si nc o n t r a s t t oh o wma t e r i a l s a r eu s u a l l yc h o s e n , wh e r et h e ya r ec h o s e nt oc o mp l i me n t t h ed e s i g n , t h i st a k eo nma t e r i a l a p p l i c a t i o na c t u a l l yr e f l e c t s o u rs i t u a t i o no f h a v i n gt ou s ep a p e r . Pr o p e r t i e so f t h ec a r d Left-Pa u l L o w’ sTi me s l i e si nt h es t i f f n e s s , a si t i sq u i t et h i c k . Ho we v e r , t h ec a r d Eu r e k aPa v i l l i o n c o u l db ep r o n et oj u mp i n gb a c ka f t e rf o l d s , t h i swo u l d Bel ow-I CD/ I TKE c o mp l i me n t myd e s i g n ’ sp a n e l s , wh i c hf o l di nb o t h Re s e a r c hp a v i l l i o n d i r e c t i o n s , wh i c hc o u l da d ds t r e n g t ht oi t t h r o u g ht e n s i o n b e t we e np a n e l sa st h e yt r yt omo v e , b u t a r eu n a b e l t o . AsFl e i s c h ma n ne t a l . t o o ka d v a n t a g eo f t h ep r o p e r t i e so f wo o di ni t ’ sb e n d a b i l i t y , p a p e r ’ ss t i f f n e s sc a na l s ob e d v a n t a g e o u s l yu s e d . Mys h a r di d e ab e h a v e ss i mi ma r l yt oL o w’ sp a v i l l i o na swe l la a st h eI CD/ I T KERe s e a r c hp a v i l l i o n . T h ec o n s t r u c t i o no f t h es t r u c t u r ef o r t h es t r e n g t hc a nb ea t t r i b u t e dt ot h ef a c t t h ee d g e so n l yt o u c hONEo t h e r e d g e , wh i c hi ss o me t h i n g t h a t I r e a l i z e dl a t e r t h a nI h a dh o p e d . Bo t hp r e c e d e n t sh o we v e r , r e c o n s o l i d a t et h a t t h i ss t r u c t u r e i sp o s s i b l e , i f i t ’ sp o s s i b l ea sa3 mb u i l d i n g , i t s h o u l db e o k a ywi t hp a p e r .
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Ri ght-Th el i g h t s e t u p , c r a f t e df r o mv a r i o u s p i e c e so f t h ep a n e l l e d mo d e l t h a t r e f l e c t mu c ho f f i n a l d e t a i l
Toc o n s o l i d a t et h es h a d o we f f e c t so f t h ep a n e l l i n g , I e x p e r i me n t e dwi t has ma l l s e t u p st ot e s t t h ee f f e c t s . I nt h et o pp i c t u r e , i t c a nb es e e nt h a t wi t ht h e c o mb i n a t i o no f t h es ma l l e rh o l e sa n dt h eg a p s b e t we e np i e c e s , t h e r ei sami xo f s ma l l d e t a i l , a n d l a r g e rs h a p e sa r ea l s oe mu l a t e ds u c c e s s f u l l y . Wi t ha l l t h e s ee l e me n t so f t h emo d e l c o n s o l i d a t e d , t h ef i n a l d i g i t a l mo d e l s h o wnt ot h er i g h t , e mb o d i e sa mu l t i t u d eo f e l e me n t si nt h eo v e r a r c h i n gc o n c e p t o f e n t r o p y .
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Re f l e c t i o n Wi t ht h emo d e l b e c o mi n gt h ec o r ec o mmu n i c a t i o nd e v i c e , i t h a sr e v o l u i o n i s e dh o wt h ed e s i g nc h o i c e s a f f e c t t h emo d e l , a n dh o wt h emo d e l a f f e c t sd e s i g nc h o i c e s . Wh a t s u p p l e me n t st h emo d e l , a n dwh a t t h e mo d e l s u p p l e me n t sa l s ob e c a meama j o rq u e s t i o na sI wo r k e dt h r o u g ht h i smo d u l e . Th et e s t i n gg r o u n d s f o ri d e a sq u i c k l yb e c a met h ec o mp u t e ra ss o o na st h emo d e l wa sc a r r i e do v e rf r o md r a wi n g s . Wh i l eo n t h eo t h e rh a n d , q u a l i t a t i v et e s t i n ga n dd i s c u s s i o n sn e e d e dt ob ed o n ei nt h er e a l wo r l ds t i l l . Bu t t h e d r a s t i cc h a n g eh e r ei st h a t wh a t t h e nn e e d st ob ec h a n g e di ss o me t h i n gt h a t r e q u i r e smu c hmo r ec a r e . Nol o n g e rc a nd o o d l e so f r e f i n e me n t b eu s e f u l a n y mo r e , t h e ya l l h a v et ob et r a n s l a t e di n t ot h ewh a t wo u l d e v e n t u a l l yb ep r i n t e d , I f o u n dt h a t a l l t h e s ea l t e r a t i o n st ob et a x i n ga n dt i me c o n s u mi n g , b u t a b s o l u t e l y n e c e s s a r yf o rt h ee n do f t h ep r o j e c t .
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Th eFi n i s h Ov e r l a p p i n gPa r t s Ta b s St r u c t u r a l Su p p o r t “ Ma k i n gi sa na c t i v ewa yo f t h i n k i n g , s o me t h i n g t h a t wh i c hc a nb ec a r r i e do u t wi t hn op a r t i c u l a r goal i nmi nd. I nf ac t , t hi si sas i t uat i onwher e i nnov c at i oni sv er yl i k el yt ooc c ur . ” Dani elChar ny Th e r ea r es t i l l an u mb e ro f t h i n g st h a t we r e n ’ t y e t c o n c l u d e dt of a b r i c a t ead e c e n t mo d e l , b u t I d e c i d e dt o Fo r mi sas o c i a l l yc o n c e i v e ds y s t e m, wh i l e j u s t ma k ewh a t I h a v e , a n dc o n s i d e rh o wt oa p p r o a c h “ t t e r i ss o me h o wa p a r t f r o mu s , i t d o e sn o t t h e s el e s s e rp r o b l e msa f t e r . Th ef i r s t mo d e l i so f a1 mm Ma b e h a v et oo u r r u l e s ” c a r da n dma s k i n gt a p e . I n s t a n t l yd u r i n gt h ema k i n g Al e xSe l e n i t s c h( 2 0 1 2 ) p r o c e s s , I e n c o u n t e dav a r i e t yo f p r o b l e ms . Th ef i n i s hwa ss o me t h i n gt h a t I wa sn o t p l e a s e da b o u t , a l l t h eo t h e rf a c t o r s , i na d d i t o nt op a p e rt y p ec h o i c e a l l b u i l du pt ot h i sr e l a t i o n s h i pb e t we e nFo r ma n dMa t t e r , a t o n ep o i n t , t h ee me r g e n c eo f t h e s ep r o b l e msi st h e r e s u l t o f an e g l e c t o f Ma t t e r , wh i l eF o r mi ss o me t h i n gt h a t i ss h a p e da n dg i v e nme a n i n g , wh i l ei nt h ec a s eo f t h i s l a n t e r n , i t i sn o t as o c i e t ys c a l ep r o j e c t i o n , i t i ss t i l l s o me t h i n gt h a t h a sb e e nc r a f t e d , a n dt h e nn e e d st ob e t r a n s f o r me da l o n gwi t hMa t t e r . To“ wo b b l e ”b e t we e n t h et woi st oa c h i e v eac o mp r o mi s ea n dwh a t ma n y d e s i g n e r ss t r i v et od o . Th emo d e l r e s i d e so nt h i s b a l a n c eb e t we e nwh a t h a sb e e nc r e a t e d , a n dwh a t i sn o t .
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Th ec l e a nc o n n e c t e df i n i s ht h a t I wa n t t oe mp l o yr e q u i r e s at a b b i n gme t h o dwh i c hd o e s n ’ t ma k ei t o b v i o u st h a t t h e p i e c e sn e e d e dt ob ej o i n e d . Th ec o n v e n t i o n a l o n es i d e d a n dt wos i d e dt a bme t h o d swo u l dn o t a c h i e v et h ec l e a n f i n i s ht h a t I d e i s r e d . On es i d e dt a b sc a nb ee a s i l ys e e nf r o mt h eu n d e r s i d e , a n dl i g h t i n gwo u l da l s os h o wt h e s eo b v i o u s l y . I f t h e y we r en o t s h a p e dr i g h t , t h e yc o u l da l s oc o v e ru pf o l dl i n e s .
TopDo u b l es i d e dt a b sr e s u l t i nr o u n d e d , b u t d e t a c h e dl o o k i n gf i n i s hwh i c hwa s u n d e s i r e d Left-Ta b swe r et o oc o n s p i c u o u s
d e dt a b sr e s u l t i nan o t s mo o t hf i n i s h , T wos i d e dt a b sh a dan i c eo u t e r f i n i s ha si f i t we r er o u n d e dAbove-Onesi a n dt a b sc a nc o v e ru pf o l dl i n e s a l o n gt h ee d g e , b u t t h ea wk wa r d l yf o l d e dt a b so nt h e o t h e rs i d ewo u l db et o oc o n s p i c u o u s .
Th es a met a b b i n gme t h o db e t we e nt h ej o i n t sc o u l db e a p p l i e dh e r ea swe l l , wi t hs i mi l a re a s ea swo r k i n gwi t h t h ed i g i t a l mo d e l h e l p e di nv i s u a l i s i n gwh a t e f f e c t wa s n e e d e da n dwh a t p a r t s . Th ee a s eo f c o p y i n ga n d p a s t i n ge n s u r e dt h a t t h e r ewo u l db en oe r r o r si nt e r ms o f p i e c es i z ea n ds h a p e , wh i l et h e3 Dmo d e l h e l p e d e n s u r ewh a t p i e c es h o u l dg owh e r e .
Ri ght-Ta b ss h a p e da st h ep i e c et h a t t h e y wi l l b ej o i n e dt o Bel ow-Mu c hc l e a n e rf i n i s h , i t i sh a r d e rt ot e l l wh e r eo n ep i e c ej o i n st ot h en e x t
Th e r ei sal o g i c a l p r o g r e s s i o nwh e r ema n yi d e a sa r e f o r mu l a t e da n ds i mu l a t e do nt h ec o mp u t e rs c r e e n , a s a ne x t e n s i o no f p h y s i c a l mo d e l s .
Th et a b st h a t I h a dd e c i d e dt ou s ei nt h ee n dwa st o h a v et a bt h a t we r et h es h a p eo f wh a t t h ep i e c ewa s g o i n g t oj o i nt o . Th i sh e l p e dwi t hc r e a t i n gas mo o t h e r f i n i s ha swh e r et h ep a r t swe n t wo u l da l i g nwi t hf o l dl i n e s .
“ Mak i ngi deas , c ani deasbemade?” Ma k i n gt a b st h i swa ywa se a s ywi t had i g i t a l mo d e l a t h a n d , i t a l l o we dt h ed i r e c t v i s u a l i z i n go f t h ei d e a , t h e d i g i t a l a g et h a t wea r ec u r r e n t l yi na l l o wst h i se a s y s t u d yo f i d e a swh e r ee v e r y t h i n gc a nb ea l t e r e dmu c h s i mp l e rt h a ni f i t we r eo np a p e r .
Ri ght-Ta b b i n gme t h o ds i mi l a r l y a p p l i e dt oo v e r l a p p i n gp a r t st o o
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Th ef i n a l f i n i s ho f t h emo d e l t h a t I wa n t e dc o u l dn o t b e a c h i e v e db yu s i n g1 mmc a r d , t h ep r o b l e mst h a t a r o s e d u r i n gmyf i r s t p r o t o t y p ewe r et h a t : Bu r nma r k s Di s p l a c e me n t o f p i e c e sf r o me a c ho t h e r , d u et ot h e e x t r a1 mmt h i c k n e s s ; r e q u i r e dc a r e f u l c o n s i d e r a t i o n . Fo l d sr e v e a l e du g l yg a p so no n es i d e , a n dmo s t o f t h e t i me , t h e r ewo u l db eab a dc r e a s e . Top-Fo l d sa n dt h e i rg a p s Left-Cr e a s e s
Bel ow-Th i c k n e s sa n dp i e c e d i s p l a c e me n t a sar e s u l t
Do e sn o t wo r kwe l l wi t ht h et a b st h a t I wa n t e dt ou s e a n dt h ee f f e c t t h a t c a mewi t hi t . I c o u l df o r s e ep r o b l e ms a ss o mep a n e l sn e e dt ob ef o l d e dal o t . Th i se x t r a t h i c k n e s swo u l dh i n d e rt h ep o s s i b i l i t yo f i t d o i n gs o . T h e1 mmc a r dh o we v e r , wa ss t r o n g e r t h a nt h ei v o r yc a r d o p t i o n , u p o nf a b r i c a t i n gap a r t o f t h ed e s i g nu s i n gt h e i v o r yc a r d , I f o u n dt h a t i t wh i l ei t wa s n ’ t a sf l i ms ya sI h a d i ma g i n e di t t ob e , i t s t i l l wo u l dn e e ds u p p o r t t oh o l di t t o g e t h e r . Ap r o b l e mwi t ht h ei v o r yc a r dh o we v e r , wa swi t ht h e f a b r i c a t i o nt e c h n i q u e , l i mi t so f t h ema c h i n e se me r g e a n dc a nb es e e nwi t ht h e i ru s a g e ; wh a t t h e yc a na n d c a nn o t d o , a n dwh a t t h e ya r eg o o da t d o i n g , a sd i s c u s s e d b yGe r s h e n f i e l d( 2 0 0 5 ) . Tos a v eo nl a b o u ra n de f f o r t , I i n i t i a l l yc h o s et ou s et h el a s e rc u t t e r , b u t f o u n dt h a t t h e i v o r yc a r dwa st o ot h i n , a n dl a s e rc u t t e r sa r en o t g r e a t a t e t c h i n go ns u c ht h i nc a r da sp r e d e t e r mi n e db yt h e ma c h i n e s ’ o u t p u t p o we r . Ul t i ma t e l y , I h a dt og owi t ht h e c a r dc u t t e r , a n dwh i l emu c ho f t h ema n u a l c u t t i n gl a b o u r wa sa v o i d e d , t h e r ewa ss t i l l al o t t od od u et ot h et i g h t c o r n e r so f ma n yp i e c e s .
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I nt h ee n d , t h ef o l l o wi n ga me n d me n t swe r ema d e Un i q u et a b b i n gs t y l e 1 mmc a r dc h a n g e dt oI v o r yCa r d Tov a s t l yi n c r e a s et h eq u a l i t yo f t h emo d e l , a n da s e c o n dp r o t o t y p ewa sd e v e l o p e d . Toa s s i s t wi t ht h ec o n s t r u c t i o n , ab a s emo d e l f o rt h e p i e c e st ob et e mp o r a r i l ys t u c kt owa su s e d . I na d d i t i o n , a p p l i c a t i o ng u i d e swe r ea l s oma d ef o r t h ec o r r e c t a l i g n me n t o f p i e c e s . Wh i l et h ec o n s t r u c t i o ns t a r t e do f f u n s t a b l e , a f t e raf e w mo r ep i e c e sc a met o g e t h e r , i t c o u l dh o l di t s e l f u p .
Left,Top-Te c h n i c a l Do c u me n t a t i o n Bel ow-Ba s eg u i d e
Th ec o n s t r u c t i o np r o c e s s
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s hadow
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Th eo u t c o meo f t h es e c o n dp r o t o t y p er e v e a l e dan e w Soi t wa sb a c kt ot h ed r a wi n gb o a r da n db a c kt omy s e t o f p r o b l e mswi t ht h ef o r mi t s e l f . Be i n gap r o p e r i n i t i a l p a n e l l i n gi d e ao f t h e3 Dh o n e y c o mb s . Th e3 D p e r f o r ma n c emo d e l , s t r u c t u r a l p r o b l e mst h a t we r en o t n a t u r ei n v o k e ds t a b i l i t ya n de q u i l i b r i u m, a n dI r e a l i z e d p r o p e r l yc o r r e c t e dc a met ol i g h t , a l s owi t ht h ef o r ma l t h a t I n e e d e dt ob r i n gt h i sb a c kt of u r t h e re s t a b l i s h a s p e c t s , t h es i z eo f s o mep a r t swe r ea l s ou n e x p e c t e d l yt h et r a n s i t i o nf r o mc h a o st oo r d e r . s ma l l . Pa u l L o wp r e v i o u s l yi l l u s t r a t e dt h ed i f f e r e n t t y p e s o f p r o t o t y p i n ga n dh o we a c hs e r v e st h e i rp r o c e s s , h o we v e r , i n c o mp e t e n c ei nt h ea r e ao f d i g i t a l p r o t o t y p i n g r e s u l t e di nt h ef a i l u r et os i mu l a t er e a l i t y . St r u c t u r ea n d s i z ewe r es o me h o ws k e we di nt h e3 Dmo d e l . I a l s of e l t t h a t t h e‘ s t a b l es t a t e ’ o f t h emo d e l d i dn o t i n v o k ee n o u g hs t a b i l i t y , t h ep a r t swe r es t i l l f l i ms ya n d t o os ma l l . Th ei mp o r t a n c eo f p r o t o t y p i n gs h o wsi t s e l f h e r e , i t i sn e c e s s a r yf o rp h y s i c a l mo d e l st op o i n t o u t , i nav e r yr e a l wa y , wh a t n e e d si mp r o v i n ga n dwh a t d o e s n ’ t . Ma n yf a c t o r sg oi n t oma k i n gt h emo d e l a n d i mp e r f e c t i o n sa r i s ef r o mh u ma ne r r o r , a n dt h e s ea r e e r r o r st h a t c a no n l yb ef i x e db yma k i n gmo r e . Ot h e r i s s u e st h a t a r i s ec o u l db e , l i k ei nt h i ss c e n a r i o , f a u l t s i nt h ed i g i t a l p r o c e s s , wh e r et h ec o n v e r s i o nt ot h e r e a l wo r l dr e s u l t e di na nu n wa n t e do u t c o me .
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L a b e l st oc o r r e s p o n dwi t ht h e3 Dmo d e l t oa l l o wf o r a s s e mb l ywe r ema d ei nt h ef o r mo f n u mb e r s . Asmu c ho f o n er i b b o na sp o s s i b l ewa su n r o l l e dt o o p t i mi s et h ep r o c e s so f f a b r i c a t i o n . Th ep r o c e s si nwh i c ht h ep i e c e swi l l b ec u t i sa ‘ s u b t r a c t i o n ’ me t h o d , a sd i s c u s s e db y Ge r s h e n f i e l d( 2 0 0 5 ) . Th i sme t h o dr e q u i r e st h e c a r e f u l p l a n n i n gt os a v et h emo s t a mo u n t o f s p a c e a sp o s s i b l e , a n di nmye n d e a v o u r s , I f o u n dt h a t wi t h s u c ha na s s o r t me n t o f s h a p e s , I t wa sb e t t e rt ol e a v e e n o u g hg a p sa n ds o mes p a r ep a p e ri nc a s eo f e r r o r si np r i n t i n g .
Left-Nu mb e rl a b e l s Bel ow-Fa b l a bSh e e t s
Gr o u p i n go f e a c hr i b b o n wa sd o n et oo p t i mi s e f o rf a b r i c a t i o n
Th eu n r o l l i n go f t h er i b b o n s
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Tod e a l wi t ht h es t r u c t u r a l we a k n e s so f t h el a n t e r n , af u n c t i o n i n gb r a c ewa si n s e r t e d . T h er e i n f o r c e me n t c o n s i s t so f b a n d st h a t a r ec o n n e c t e d a c r o s st h emo d e l . Th eb a n df i t smyh e a da n dt h ewa y i t i sc o n c e p t u a l i z e di st h a t a st h e r ei saf o r c et h a t a c t s o nt h eb a n d s , i t p u s h e st h eb a n du pa n dp u l l st h ep i e c e s t o g e t h e rs oi t sc l o s e rt ot h eo r i g i n a l s h a p ea n di t ’ l l a u t o ma t i c a l l yf i t t h eh e a d . I nt h es a mema n n e r , t h e mo d e l wa sd e s i g n e dt ob eap e r f e c t f i t f o rmyh e a d , t h emo d e l i t s e l f s h o u l dn o t n e e dt ob er e s c a l e db e c a u s e o f t h i s .
Above-Br aci ngandCi r cui t / Swi t chdet ai l
Th el i g h t t h a t I u s e di nt h ee n dwa sad i f f u s el i g h t , u s i n g at r i a n g u l a rs h a p e dc o v e ro v e ras i mp l eL EDc i r c u i t , t h e L EDg l a r ef r o mh a r dl i g h t swa se l i mi n a t e d . Th ep r e v i o u sp r o t o t y p eu s e dt h eh a r dl i g h t , a n dt h e l i g h t i n ge f f e c t swe r eab i t t o oj a g g e da n dr o u g h , t h a t i swh yt h i sc h a n g ewa sma d e .
Wh i l et h i swa y , t h es h a d o wsa r en ol o n g e ra s c o n c i s e , t h el i g h t i n ge f f e c t i smu c hmo r es t a b l e a n dwe l l r o u n d e d . Fi t t i n gwi t ht h et h e meo f ‘ o r d e rt h r o u g hc h a o s . ’
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Thr oughoutmodul e3,t hemodul eoff abr i cat i on,Ihadr uni nt omanyi ssuest hat mai nl ycamef r om t he‘ di scr epanci esi nmaki ng’t hatPaulLowdi scussedi nhi s l ect ur es,t heneedf orvar i oust ypesoft est i ng;st r uct ur alt est i ngandqual i t yt est i ng al l c omer el at ebac kt ot hef ac tt hatwhathasbeenpl annedmi ghtnotbewhati sc r eat ed. Thi sal ll i nksbackt ot heemer genceoff abr i cat i ont echnol ogy,asdi scussedt hr ough myj our nal ;mak i ngs ol v esandc r eat esmanypr obl ems .Butwi t hf abr i c at i ont ec hnol ogy s uc hasl as erc ut t i ngandc ar dc ut t er saswel l ast heac c ompany i ngmodel sal l r educ e t heamountofhumaner r ori nt hepr oc es soff abr i c at i on,butdoesnothel pr educ eany humaner r or si nt hedes i gnpr oc es s est hatl eadupt ot hef abr i c at i on.Thi s‘ t oandf r o’ bet weendes i gni ngandf abr i c at i ngi sal s obr i dgedbyt hes amef abr i c at i ngt ec hnol ogy t hathasal l owedt heeaseoft est i ngandr et weaki ngt hedesi gn. I nt hes ameway ,t ec hnol ogyal s ohasi t sl i mi t ,i nc ont r as tt omodul e2,t ec hnol ogy us edt of abr i c at ei sr eal ,andnoti nt hes amev i r t ual pl aneaspr ogr amsar e,t hatbei ng s ai d,t heyar emuc hc l os ert ot hehumandes i gned‘ f or m’ wi t hmor ephy s i c al l i mi t at i ons anddi f f i c ul t i es .Forex ampl e,t hes t r engt hoft hel as erc ut t ereas i l ybur nst hr oughi v or y c ar d;i tbur nst hr oughi ts oeas i l yt hatt her ear ev i s i bl ebur nmak esont hepaper .I nmy s i t uat i on,t hel as erc ut t erc oul dt hennotbeus edandmov i ngont ot hec ar dc ut t er ,i t c annotmak et i ghtc or ner s .Thi sr es ul t edi nmanyofpi ec esr equi r i ngaddi t i onal manual l abourt of i ni s ht hec ut t i ngpr oc es s .Thes el i mi t at i onsex i s ti nal l mac hi nes ,andeac h mac hi nei nher ent l yi sgoodatt as k st hatper hapss omeot hermac hi nesar enot . Thenextquest i oni st hent hecost ,notonl yi nt er msofmoney,butal sot i me. Fabr i cat i ont echnol ogi esal l owswi t hsucheaset oconst r uctphysi calmodel st hat t r adi t i onalhandmadel abourwi l lhavenohopesofmat chi ng.Theabi l i t yt osi mpl y r edoal asercutr unonadi f f er entset t i ngi sonl yof f setbyt heoper at i oncostand costofmat er i al s.Thi si st hesamef ort r adi t i onalhandmadepr oj ect s,butt heonl y deci di ngf act ori st i me.Er r or smadebyhumansver sussi mpl ypr essi ngt hepr i nt but t onagai nsett heset wof abr i cat i ont echni quesapar t .
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Ov e rt h es e me s t e r , weh a v es t r i v e dt op r o d u c eal a n t e r ni n s p i r a t i o n , b u t i t i su pt ot h ed e s i g n e rt owo r ki nawa y Th i sr e l a t i o n s h i ps t a r t st of a d ea smo r ea n dmo r ef o c u s mo d e l a l l wh i l ek e e p i n go u rwo r ki nc l o s ec o n t e x t wi t h t h a t a l l o wst h ev i e we r st oq u e s t i o nwh a t i sg o i n go n , g e t sp u t o nd e s i g ni t s e l f , a n dt h ed e s i g n e rs t a r t si n j e c t i n g o u rs t a r t i n gn a t u r a l p r o c e s st h a t weu s e da si n s p i r a t i o n .a s p e c t so f i n t e r e s t a n dt h e i ro r i g i n . Wh i l ep e r h a p sa ‘ t h e ms e l v e s ’ i n t ot h ep i c t u r e . Sp e a k i n gi nt h eb r o a d e s t s e n s eh o wh a sa n yo f o u r c o mp l e t ea n s we ri sn o t a t t a i n e d , t h el i n g e r i n g‘ f e e l i n g ’ i n s p i r a t i o n sc a r r i e dt h r o u g ha l l t h ewa yt ot h ee n d ? t h a t ap i e c ei n v o k e ss h o u l dl e a v eas t r o n ge n o u g h Th ef i n a l p r o d u c t t h a t t h ea u d i e n c es e e s , t h ev e r yr e a l i mp r e s s i o nt h a t r e l a t e st ot h ei n s p i r a t i o na n di s p a p e rmo d e l , a c t sa sad e s i g n e dc a t a l y s t t h a t i n v o k e s I t h i n kt h a t t h er e l a t i o n s h i pb e t we e na n yi n s p i r a t i o na n d ‘ h el o n gj o u r n e yb a c kt oi t so r i g i n . Th ed e s i g nn ol o n g e r d e s i g n e d ’ b yt h ed e s i g n e r . Fr o mi n s p i r a t i o nt of i n a l t t h ef i n a l o u t c o mei ss o me t h i n gt h a t i sc r a f t e db yt h e e e d st h ei n s p i r a t i o nt oh o l di t s e l f u p , s ot h ed e s i g n e r p r o d u c t , t h er e l a t i o n s h i pi sad e e py e t p r e d o mi n a n t l y n d e s i g n e r , a n damy s t e r yt ob ee x p e r i e n c e da n ds o l v e d o s h o u l da c t a st h emi d d l e ma n , r e f o r g i n gt h ed e p e n d e n c e n es i d e d , t h ed e s i g n e rs h o u l db ewo r k i n gwi t ht h e b yt h ea u d i e n c e . Aswi t hKa n d i n s k y ’ sc l a s so f a r t i s t s , i t h a t c o n c e p t a n dwo r ko r i g i n a l l yh a dmu t u a l l y , b u t wa s n s p i r a t i o n , b u t wh a t t h ea u d i e n c es e e si so n l y i n d i v i d u a l a n a l y t i c a l d r a wi n g sv a r yb e t we e np e o p l e , l o s t a mo n g s t t h ed e s i g n e r . s o me t h i n gt h a t t h ed e s i g n e rh a sc r a f t e d . d e s p i t et h es a mer u l e sb e i n ga p p l i e df o re a c hp e r s o n . Di s p a r i t i e sb e t we e np e o p l e ’ sd r a wi n g sa r ear e s u l t o f Fo rt h ema j o r i t yo f t h ei d e a t i o np h a s et h o u g h , t h e r e d i f f e r e n t p e r s o n a l i t i e sa n dj u s t d i f f e r e n t h u ma nb e i n g s e x i s t sav e r ys t r o n gmu t u a l d e p e n d e n c eb e t we e nt h e i ng e n e r a l . Th e r ei su s u a l l ya l wa y sap a r t o f s o me o n e , c o n c e p t sa n dt h e i rd e r i v e da n a l y t i c a l / i n t e r p r e t i v e as t y l et h a t g e t si n s e r t e di n t od e s i g ns o me wh e r ea l o n g d i a g r a ms , t h en a t u r a l p r o c e s sd e p e n d so nt h e t h ewa y . Wh a t ’ sl e f t a st h ef i n a l o u t c o mema yb e d e s i g n e r ’ sr e p r e s e n t a t i o n st og i v ei t p r o p e rme a n i n g , s o me t h i n gt h a t h a sb a r e l ya n yt i e st ot h ei n i t i a l wh i l et h ed e s i g n e ri sa l wa y sd r a wi n gf r o mt h ec o n c e p t .
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modul e4r ef l ec t i on
Vi r t u a l e n v i r o n me n t sh a sb e e nac o mp l e t e l yn e w e x p e r i e n c e , t h ed e p t ho f t h es u b j e c t wa sn o t h i n gt h a t a n y t h i n gI h a dd o n eb e f o r ec a mec l o s et o . Th ed e s i g n p r o c e s sb e i n gc a r r i e da l l t h ewa yf r o ms t a r t t oe n da n d t h ed e t a i l t h a t we n t o n t oe a c hmo d u l ewa su n l i k ea n y o t h e rd e s i g nc l a s st h a t I h a v et a k e np r e v i o u s l y .
Ho wt h i sh e l p si st h a t b e i n ga b l et ot h i n ka b o u t o n e s t h i n k i n gi si mp o r t a n t i nma n ya r e a so f s t u d y . I f e l t t h a t c r i t i c a l t h i n k i n ga i d e dd e s i g nc h o i c e s , a n da sI p l a nt o c o n t i n u ei n t oa r c h i t e c t u r e , s u c has k i l l wo u l dc o mp l e me n t t h ed e s i g nn e e d so f t h ec o u r s e . Cr i t i c a l t h i n k i n gi sa n e c e s s i t yt ob ea b l et oe f f i c i e n t l ye mp l o yt h et h e o r yi n a r g u me n t sa n da p p l yt h e mr e l e v a n t l yi sac o r ef o rn o t Ge n e r a l l ys p e a k i n g , a p a r t f r o mp r a c t i c a l s k i l l ss u c ha s o n l yt h ed e s i g na r g u me n t sb u t a l s oa c r o s so t h e rp r a c t i c a l u s i n gt h es o f t wa r ee f f i c i e n t l ya n dk n o wi n gh o wt oma k es u b j e c t s . c l e a nmo d e l s , I f e e l t h a t t h emo s t i mp o r t a n t p a r t o f t h e c o u r s ec a mef r o mt h er e f l e c t i o n . Th ewh o l ec o n c e p t o f Ass a i db e f o r e , I p l a nt oc o n t i n u ei n t oa r c h i t e c t u r e , a n d h a v i n gt or e s p o n dt ot h el e c t u r ema t e r i a l , d r a wi n go n v i r t u a l e n v i r o n me n t sf e l t l i k eaf u l l yl o a d e dd e s i g nc o u r s e . r e a d i n g sa n dl i n k i n gi t t o g e t h e rwi t ho u ro wnd e s i g n De s i g nd o e sn o t h a p p e no v e r n i g h t , b u t o v e rt h ec o u r s eo f wo r kwa so nawh o l en e wl e v e l t oe s s a ywr i t i n gt ome .t i me , wh i c hme a n t t i mema n a g e me n t a n db a l a n c i n go f Th ei n c o r p o r a t i o no f h a v i n gt ol i n ko u ro wnwo r k , wh i c ht h ewe e k l yt a s k swa si mp o r t a n t . So me t i me sI wa s i ss o me t h i n gv e r ys p e c i f i c , t ob r o a dt h e o r i e sa n d s u c c e s s f u l , s o me t i me sI wa sn o t , b u t t h ec o u r s eh a s c o n c e p t swa ss o me t h i n gl i k e' t h i n k i n ga b o u t t h i n k i n g ; ' ag i v e nmean e ws t a n d a r di nwh a t I n e e dt od ot ob e t t e r s k i l l t h a t I h a v en e v e rb e e na b l et od os u c c e s s f u l l ya n d myt i meu s e . I f o u n dt h a t v i r t u a l e n v i r o n me n t sh a sb e e nmyb e s t i mp r o v e me n t . Ov e rt h ec o u r s eo f t h es e me s t e r , t h e Ov e r a l l , I f e e l t h a t I c a nl e a v ev i r t u a l e n v i r o n me n t s c o n s t a n t n e e dt od os u c ht h i n g sh a sh e l p e dmei d e n t i f yc o n f i d e n t l ywi t hs o men e wd e s i g ns k i l l s , n e wwa y so f h i n k i n ga n dmo s t i mp o r t a n t l y , ac r i t i c a l d e s i g n e rmi n d . l i n k s , p i c kap a r t c o n c e p t sa n dr e t a i nwh a t ' si mp o r t a n t .t
Life is a dance, Petals is the dancer.
Xeyiing Ng Student No : 596296
Semester 2/2012
Group 14
“I believe I am made to be something more...”
Hi,
this is the story of Petals, a character you would soon come to know. Petals is not an imagined character, quite real in fact. Seen by many, yet so little have notice; too many have felt the presence but not a handful who have taken the time to understand. One day Petals heard a voice, Petals thought it sounded rather like a heavenly voice, but I am rather confident it was Petals’ inner voice; then again this was what Petals heard,
“All things are constantly changing, the change however is not random and it takes on certain patterns. Patterns can be found everywhere, in the growth of shells and plants, even among the huge city, where we have fixed structures yet there are still changes in between them, i.e. the human traffic. Many of the patterns having underlying rules and codes that are yet to be discovered, such patterns help govern the formation of things around us. When we understand the rules behind it, we are able to apply it to other purposes.” Precedent: Pattern Formation, Virtual Environments, Sem2/2012 Lecture 1
Inspired, Petals decided it was time to change, time to be noticed, time to transform, and this is how our story starts…
Observing Petals Petals’ new found passion in transforming himself had him digging deep into his roots. Petals did not get right to the point where he would end up being at from the start, and it may seem like a troublesome process to go over, it is actually a development process which helps broaden views, setting up a solid foundation for development of ideas. Speaking of form and context, Petals made a very wonderful choice of building his dance progression using paper. The dominant characteristic of waves, its flexibility, would have been deducted away in the use of other materials and the representation of waves would have been less convincing. The paper had the rigidity to hold the form yet possess the ability to bend.
When the wind blew, Petals would dance; sometimes people find it scary, other times people run towards it. Waves, waves on the sea, that’s Petal’s dance, but Petals is not a wave, Petals is a wave surface particle.
“I love dancing with the wind.” Petals’ dance had a pattern; up and down the wave goes and underneath, Petals go round and round. When its’ fast enough, petals stop dancing in closed loops and starts dancing in a spiral pattern, or scientists call it the ‘stroke drift’.
‘Waves never propagate simultaneously, one is always moving faster or slower than the other.’ - Petals
So Petals dance, The wind is never predictable and Petals always had a different dance. When itâ&#x20AC;&#x2122;s closer to the beach, Petals danced more vigorously, expressive and energetic, and when itâ&#x20AC;&#x2122;s further in the ocean, Petals often dance like a trained ballerina, graceful yet passionate.
With that, Petals came up with his very first form, his dance progression.
And dance... Petals wasnâ&#x20AC;&#x2122;t exactly sure what he was heading for, but he knew the dance progression wasnâ&#x20AC;&#x2122;t it. Remembering the time he was near a volcanic eruption, the energy he received and that enthusiastic dance he had, Petals then came up with a new concept for the dance, temperature variation. Observing himself, Petals knew that as a particle, he had a basic shape of a triangle lumped together with the others to form a rhombus, he also knew that with a little extra heat, he could easily break free from the others and be an individual, and with a little less heat, Petals could turn into a hexagon. This meant that, the closer Petals is to be a triangle, the more vigorous his dance would be. On another note, the overall form is to resemble a triangle, the very basic form of Petals.
“This is still not it yet.”
Petals knew he was meant for something more, but he had to admit he was stuck. The initial forms were too random and were hardly reliable, Petals needed a way to produce and test his forms consistently. Once again, the voice spoke to Petals,
“In the digital design space, the possible moves are defined, hence limited, however even in the defined space, the possibilities are so great that at times even when the computational rules are all predictable, it is impossible to see the end stage as ‘too much’ is going on for the human brain to interpret everything.” Precedent: Design to Assembly, Virtual Environments, Sem2/2012 Lecture 6
Now all Petals need is a digital friend… and who else but RHINO.
Observing Petals As anticipated by Petals, digitalisation has increased the accuracy and consistency of the design that no human hands can achieve. This virtual space allows work to be thoroughly reviewed before production, recreated again and again with consistency and as I read, “If you know that your environment will be there, as you left it, the next time you log in, then you have some motivation to invest time and resources improving it.” Precedent: Replacing Place, William J. Mitchell
Indeed, the main feature most people tend to neglect is the saving of data. It is this function that provides the consistency and accuracy in digital forms and the recreation of data to be performed. Many designing medias flood the market these days, but each software are specifically programmed for specific inputs and outputs. If not pre-defined in the software, the function wouldn’t be present hence further limiting the outcomes. Digitalisation was a smart move, going to RHINO, the 3D expert is Petal’s best move.
RHINO is a picky friend. RHINO had one condition, “A perfect model is one that contains as little information as nec¬essary to describe the properties of an object unambiguously. It came to light that all the details in the previous model would not be effectively projected in Rhino, hence losing the initial purpose of the design in representing the concept. Using abstraction, reducing the infinite complexity to a level where it can be described easily, and reduction, finding the optimal way to present the concept, the design wassimplfied to ‘perfection’. Precedent: Lost in Parameter Space, Scheurer F. & Stehling H.
Taking RHINO’s advice, Petals simplified his dance moves. The number of individual sticks were reduced; the circles are converted into spheres with the waves going around its’ equatorial axis hence ‘solidifying’ the form.
“Parameter Space here I come!”
“I was painfully sliced individually to retain my original outline then photographed and imported into Rhino. Must have looked hideous in the 1cm thick chopped up version of me.”
“I was ticklishly traced in Rhino using polylines. Tracing was done using the photographs only as the radius’s reference, seeing that I was very much squashed by this stage.”
Petals’ long awaited consistency. “Leaving my physical form, the traced curves were stacked above each other with equal spacing in between. My first virtual draft.”
“To finally close me up, points were added on each end of the petals and then I was lofted together with the curves.”
Petals’ first Digital Skin!
And boy, he just won’t stop admiring himself; front view, side view, top view... You name it he’s done it.
Under the guidance of RHINO, Petals successfully placed himself into the ‘Parameter Space’, the consistency he longed for.
Oh, did I mention? RHINO forced him to keep a progress journal; this is going to be fun.
“Just what I needed.” 30 St Mary Axe
Architect : Norman Foster Location : London, UK The 30 St Mary Axe building is also known as the Gherkin is a tower of 180m tall with 41 floors and stands on the site of the former Baltic Exchange.
Reading about the building somewhere, Petals got three things out of it: Spirals, Twirls! 1. Spirals surrounding the building reminded Petals of the dance move he was so good at. Observing how the spiral was so carefully incorporated into the design, prominent yet sits perfectly in the overall structure. 2. The triangular patterns The building is one without extra reinforcements. The triangles allowed the building to achieve a certain amount of stiffness. It is also this exact same triangle that provided a ‘pathway’ for the spiral to move. 3. Diamond grid instead of a square grid In panelling the surface, a diamond grid allows a smooth spiral to take form. Using the diamond grid, the spiral movement was successfully incorporated into the design flawlessly.
Petals’ signature dance - Twirling Realising he had been missing his most significant dance move: the stroke drift, all these while. Petals decided to make that spiral move as prominent as possible. After all, it was his signature. But how? Out of nowhere, the voice said, “Among the many ways of developing a concept as mentioned in the lecture, the use of lights should enhance the concept. The shadows formed and the intensity of light are great ways to vary the design.” Precedent: Design to Assembly, Virtual Environments, Sem2/2012 Lecture 6
Lights it is then to highlight his twirls and the intensity of lights to effectively show the change in temperature instead of the different polygons which could be left to focus on the Petals’ basic structure. Notice how the shadow effect caused by the folded spiral paper closely resemble the stroke drift formed waves? Interesting...
â&#x20AC;&#x2DC;To-Achieve-Listâ&#x20AC;&#x2122; Petals finally knew what he really wanted, he knew what he wanted his dance to represent and he knew how he wants his dance to look like. I found his list and a sketch he drew, heâ&#x20AC;&#x2122;s pretty ambitious I would say.
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What Petals actually managed to achieve... See the repeating triangles unit? Converting the panels’ grid into the diamond grid, Petals panelled 2D the surface with square triangles units to show his very basic form. The diamond grid and the repeating triangle units supported Petals’ twirls perfectly, allowing Petals to sway and dance to his very best. Tracing his spiral twirl, Petals used ‘fin edges’ which were then connected with additional surfaces to form a trench beneath the 2D surface. This was perhaps the best thing that could happen, Petals wanted lights to enhance his twirls and he has now got it.
Petals wanted a little irregularity in his dance but he couldn’t seem to get there. Now in a consistent world, petals wanted inconsistency, the irony… RHINO then said, Algorithms and computational programs in general require a well-defined parameter space which in turn results in the limitations of the design outcomes. The fact that every single move of the program is predictable limits the flexibility of the design. The consistency of the computational program prevents the development of the design according to sketch. Precedent : Lost in Parameter Space, Scheurer.F & Stehling H.
Understanding the limitations that it is almost impossible to recreate materials in the physical world perfectly in the virtual space, Petals took the best of what he could make out of.
Time to get physical.
True enough, RHINO has taught Petals much and his development would not have come this far without it, but now Petals didn’t want to stay in this confined space anymore, as consistent as he was, he wasn’t real like you and I and as promising as the virtual space may sound, its’ like school days all over again, you never really learn until you get into the real world. I am getting suspicious of this voice Petals keeps hearing, anyway, this time it says, A prototype is a ‘first of its’ kind’, one that is closest to the real thing. Prototypes have 4 main functions, to test the model’s spatial type, allows trials and errors, to test the model’s performance and its’ constrains and the effect of the model. The lecturer said, ‘Prototype helps.’ So indeed the prototypes helped by performing the mentioned functions. In fact by building prototypes, it helps the development of the ideas as the model come alive. Precedent: Furniture to Facades, Virtual Environments, Sem2/2012 Lecture 8
And as always, Petals did what he was told. Petals needed practice in the real world.
Observing Petals Watching Petals choreograph his dance moves, practice after practice, improving flaws after flaws to achieve ‘Perfection’, it started me thinking, how did we not see the flaw right from the start, in virtual space so closely resembled to the real world? The answer is probably due to the materials properties that the digitalised space failed to incorporate revealing the limitations of the digital media. It is however undeniable is that the practicing process had allowed great improved in the overall form, enhancing Petals’ experience. The downside to it all thou is that after so many practices, Petals had wasted quite a fair bit of paper now…
“Practice makes perfect”
Petals’ first attempt failed terribly. The twirls in their four-sided polygon form did not lie on the same plane, hence did not fit into each other, leaving Petals in a huge mess.
So Petals learned that the only way for the twirl to work is to ‘triangulate’ as triangles do not deform under pressure. The perfect recipe for hardcore practice.
The triangulated twirls worked! Howeve when Petals added in the ‘outer surface’ dance, they become too crammed and fail to sync.
So Petals practice,
A whole new apporach to the twirls was taken, Petals thought, “If it’s crammed, we put gaps in it.” Not only did that solved the ‘crammed up’ problem of his twirls, it produces a uniform direction resulting in a neat and clean move. The twirls are now in order. Problem solved. 2. Offset mesh to 2 different distances.
3. Join outer surface with trench faces in pattern shown.
1. Close twirls’ gaps with surfaces, then convert to mesh.
4. Delete mesh, close base with triangular surfaces.
And practice, So Petals decided to change.
1. Triangular holes with varying density were populated on the surface using the ‘pt offset faces borders’.
Petals didn’t like the triangular holes, they let too much light through, distracting people from his’ signature twirl.
2. Drawing lines on the unrolled strips, the triangles were manually changed to arrows.
“The triangular holes converted to arrows reduces the surface areas of holes, reducing the amount of light penetrating them thus focusing it on my twirls.” - Petals
Perfection under progression...
To be a dancer, Petals have to be visually appealing. All the moves has now may be distinct to a professional but to the common, they pretty much looked the same. To create distinction, Petals applied the â&#x20AC;&#x2DC;Hot matter rises, cold matter sinks.â&#x20AC;&#x2122; concept into his dance. The arrows point into the direction of movement.
And Petals kept on practicing..
Frustrated with white still not clearly highlight his twirls, Petals dumped white and turned to black. Black was especially good at blocking light but however creates obvious spots of lights on the surface. Thou the contrast bringing attention to the twirls, which was what Petals was really looking for.
Now the twirls are clearly visible, the rest was no big deal for Petals. To his dance, he added â&#x20AC;&#x2122;columnsâ&#x20AC;&#x2122; which allow lights to be attached hence leaving it a distance from the surface, creating an evenly distributed lighting without obvious spots of light on surfaces.
‘Perfection’ Achieved.
Petals had it easy, with the current technology such as laser cutting which uses pre-defined coordinates in the digital file, allowing complicated shapes to be easily cut out with precision. Had it been a few centuries back, such accuracy and consistency was definitely impossible.
“This one’s easy, all you have to do is strip me down and label me accordingly. Easy Peasy.”
“This is slightly more complicated, a little extra effort will do the trick.”
Top
“Unroll my middle twirls individually. Using panelling tools ‘Unroll faces’ label the edges.”
Middle “Label all pieces according to their sequence.”
Bottom
The Real Deal.
a. Referring to the digital file, label and cut strips.
d. Referring to the digital file, cut and label the strips.
b. Glue the individual middle trenches to the bottom trench.
e. Piece strips accordingly to the trenches.
c. Piece the top trench in place.
f. Leave the last strip and the trench unglued.
g. Fold score lines. Mark and cut LEDs’ positions according to trench.
h. Glue edges together.
i. Make needle holes for LEDs’ posts and tape where holes are made. Insert LEDs’ into designated positions.
j. Strip wires and connect LEDs in parallel. Connect all positive posts and negative posts to separate wires.
k. Bend LEDs’ posts. Insert papers pieces in between LED posts.
l. Test circuit by connecting to power supply. Close surface to form a column if all LEDs light up, leaving the circuit connected until surface is fully closed.
m. Glue end triangles of one end to close model.
n. Leave the other end open with the wires and fishing lines hanging out.
o. Glue end of wooden sticks to columns.
p. Insert column with LEDs and stick inside.
q. Close ends of petals, using a â&#x20AC;&#x2DC;Square Lashing Knotâ&#x20AC;? tie both sticks together, then join the wire ends to the power supply.
r. Connect Petal 1 and 5 at each end with fishing lines, hang Petal 3 using fishing lines on the knot.
If life is a dance, Petals is a kick-ass dancer!
â&#x20AC;&#x153;How did I come this far?â&#x20AC;? - Petalsâ&#x20AC;&#x2122; Reflection The first me had four main concepts: 1. The forces governing the different structures of particles 2. The circular motion of wave particles 3. The progression of waves from hot to cold regions 4. The change in temperature May be it was the volcano, may be not, but the first me had great focus placed on the different structures of particles at different temperatures and immense precision placed in angles and measurements. Rhombus, triangles and hexagons represented the temperature change, were part of my dance. The more aggressive my dance is, the greater the radius of the circle, hence the greater the temperature. It has been choreographed with such detail but sadly could not be brought into the virtual space. The digitalisation method used would not successfully represent the details present. In response to that, a simplified me was produced. Most of my moves from the first model were taken off and I only represented one main concept that is the progression of waves from hot to cold regions.
So it all started with me, a basic wave particle. During the process of development, concepts have been modified and change to present a better me.
In the virtual space, concepts were reintroduced and new concepts were brought in. Practically, digitalised me and the final me have only minority differences. The main dance moves are then: 1. The stroke drift of wave particles a.k.a. the twirl 2. The progression of waves from hot to cold regions 3. The basic form of wave particles (water atoms) 4. The change in temperature 5. The principle of â&#x20AC;&#x2DC;Hot matter rises, cold matter sinks.â&#x20AC;&#x2122;
Comparing digitalised me and first me, varying intensity of lights were used instead of polygons to show temperature change. The use of lights distincts from all the other geometries present hence is more visually desirable. My signature dance, the stroke drift, was introduced as a prominent feature occurring in the phenomena of waves. Besides, the spiral effect of the stroke drift produces a wave like feature on the overall form. The principle is represented using arrows which points in the direction of movement. Final me and first me had only one dance left in common, the progression of waves from hot to cold regions. It is also this concept which governs our general forms resulting in the similar outline. Final me used a mixture of black and white to bring contrast and attention to the stroke drift. The use of black paper enhances the effect of the varying light intensity. To distinct all five petals however, arrows with different direction and density were incorporated and the varying intensity of twirls were used. The attempt was however unsuccessful as the contrast distracts almost all attention. Connecting all 5 petals, the overall rigid form of me is considered as a successful one. The final me is a better dance of the wave particle concept as it â&#x20AC;&#x2DC;s simple as compared to the first me and yet still brings out the many detailed moves.
Behind The Scenes...
I see two learning sides to this subject, the technical development and the personal growth. Technically, I’ve been introduced to programmes I’ve long heard their names but never got around using it. Doubt that I’ve covered all that has to be learnt in the programmes but I am confident that this basic foundation would go a long way in my future studies especially since I am planning to further my studies as an architecture student and I don’t think having to learn a whole new programme on the verge of a major assignment is particularly helpful. The opportunity to work with laser cutters and card cutters during fabrication gave me an understanding of the working process of the machines; I now know what machine is best for what material with what kind of details in terms of cost and efficiency. Personally, this subject has basically been an ‘Introduction to what your next three years as an architecture student will be’. All the late nights in the computer lab and the annoying part where ideas don’t come till it’s almost deadline and when the stress levels are high; the fact that I stuck through the whole subject without a single ‘I-give-up’ is probably the best indicator that I am walking down the right path. If anything, this is definitely a confident boost.
Through lectures, seminars and readings, it is fascinating to learn that they are so many things that we have let it slip past us and taken for granted. It is probably a way to tell us that design inspiration in everywhere, whether or not we see it takes the right experiences. The seminars and the final parade was a great presentation learning platform. To build and to design is one thing; to however justify and make others see what you see is another, both criteria are mutually dependent. For others to appreciate ones’ work, others must see what the designer sees,as beauty is too subjective to define. The greatest learning experience I had is however, ‘You are never really done.’ The designing process is never a straight line and with every passing day, there’s always room for changes and for improvements. Even with a submitted project, although no further changes can be made to it, improvements can always be applied to future projects. This is one spirit that I will definitely hold true to for as long as I am in designing, or at least until a better one comes along.
Reference List http://en.wikipedia.org/wiki/Breaking_wave http://en.wikipedia.org/wiki/Wind_wave http://en.wikipedia.org/wiki/30_St_Mary_Axe Scheurer.F, Stehling, H (2011), Lost in Parameter Space? IAD : Architectural Design, Wiley, 81(4), July, pp. 70-79 Fleischmann M., Knippers J., Menges A., Schleicher S. (2012), Material Behavior : Embedding Physical Properties in Computational Desgin Processes, D: Architectural Desing, Wiley, 82(2), March, pp. 44-51 Lecture 5 ,6 (2012), Virtual Environments, Sem 2 2012 Mitchell, W. (2000): Replacing Place In The Digital Dialectic, P. Lunenfeld (ed.) MIT Press, Cambridge, MA, p. 112-127