Reflection - Student Journals Sem1 2012

MODULE 4: REFLECTION STUDENT JOURNALS SEMESTER 1, 2012 VIRTUAL ENVIRONMENTS

Faculty of Architecture, Building & Planning. University of Melbourne

A SELECTION OF MODULE FOUR STUDENT JOURNALS PRODUCED BY STUDENTS ENROLLED IN VIRTUAL ENVIRONMENTS SEMESTER 1, 2012 THE VIRTUAL ENVIRONMENTS COURSE FOCUSES ON DIGITAL DESIGN METHODS AND DESIGN COMMUNICATION AND IS A CONSTITUENT COURSE OF THE BACHELOR OF ENVIRONMENTS AT THE UNIVERSITY OF MELBOURNE

MODULE FOUR SARAH FRARACCIO 539769 Group 16 Virtual Environments, Semester 1, 2012

AIRFLOW IDEATION

IDEATION PATTERN IN NATURE Much like the studies of Leonardo Da Vinci, the process of attempting to understand the intangible form and pattern behind nature has proven to become an inherently personal enquiry (Ball, P. 2011 p.3)

Following hours of contemplating and examining shapes and flows, the essence of a process can begin to embody itself in physical form.

With original allure stemming from the graceful fall of a feather, observation lead to an understanding of not just the pattern with which this gravitational process embodies, but the invisible wanderings of energy that occur with air movement.

Not only does airflow shape the movement of objects within it’s governance but it can shape objects themselves through erosive and depositional means.

IDEATION VISUALISING MOVEMENT

The visual pattern and path of this air movement was recognisable when an object was consumed in its flow.

Superficial in its representation, the study of these movements merely explored the patterning of the process, disregarding the unseen transfer of energy that is embodied in these movements.

The studies of movement by Etienne-Jules Marey capture both the visual movements of an invisible subject as well as evoking the energy flows behind them.

From such studies can evolve an ability to schematically map intensities of energy during a process such as the movement of the pelican above.

The visual stimulus provided by Marey extracts the dispersive and convergent flow of energy as an object passes through air and the path of that air as it encounters obstacle surfaces.

Capturing this transfer would become the basis of the lantern concept, influencing each aspect of the design process to completion.

Figure 1: ‘Pelican in Flight’ A chronophotograph

by Etienne-Jules Marey (1886) (Naughton, R) Figure 2: ‘Smoke Still’ An experiment with the effects of interruption of a physical object into linear smoke streams. Etienne-Jules Marey (1901) (Naughton, R)

IDEATION MAPPING FLOW Energy release with the lowering of the wing.

Energy build up in the raising of the pelican wing.

Art theorist Wassily Kandinsky produced a set of drawings entitled ‘Dance Curves’ translating movement onto paper using only straight and curved lines. These pieces depict energy and motion by use of analysis in drawing (Poling, C. 1987). To better represent the fluctuation in energy within the air flow process, a similar analysis of motion would have to take place. The understanding of the energy flow within this process was defined in observation of the pelican’s wing movement and the wanderings of smoke in Marey’s studies of air movement.

In reflection of the compiled material and research, a descriptive set of words were chosen to guide the design representation.

SWEEPING

FLOATING CASCADING

MEANDROUS

IDEATION RELATION Generating concepts of form and placement thus far had resulted in lantern shapes that encapsulated the body on which they sat. Air and its movements are generally viewed from afar, enabling the observation of particle movement.

The lantern concept, then, had to be held somewhere so that the viewer could both experience the process whilst observing its motion. The successive path of moving air is generally not observed in one glance as a whole process but, rather, followed with the eye in succession.

Placing the lantern on the forearm allowed the viewer to experience the process whilst causing them to follow the path of air as it passes over their arm. “Always design a thing by considering it in its larger context� -Eliel Saarinen. (Frederick, M 2007 p.92) Both the form of the lantern and the context in which it was set had to closely relate. The extended arm on which the lantern would be set was of great influence to shaping the form and acted as a surface over which the progression of airflow could be assessed and represented.

Placing the lantern on the forearm allowed the viewer to experience the process whilst causing them to follow the path of air as it passes over their arm.

Lantern placement on forearm.

Air meaders across the surface flowing downwards.

The viewer both experiences the process in contact with the body whilst observing its path from a distance. The living organsim and the force upon it are thereby separated.

Airflow is viewed from afar.

IDEATION CONCEPT TO CLAY The artists of the Cubism period rejected the understanding that art must reflect what is seen or that it should be represented with traditional methodology (Rewald, S. 2004).

Similarly, forming the lantern concept required a visual depiction of something that is unseen.

High energy airflow sweeps over the upper arm, converging at the inner elbow.

After convergence, the air disperses at the forearm, meandering outwards.

Visualizing not just the path of the process but the kinetic nature of which it embodies required similar ‘alternative’ portrayal.

The iterations translated globular forms that resembled living organisms into a gaseous, transparent form that resembled the floaty qualities of airflow.

Converging again at the wrist, the energy of the flow heightens and crests above the hand before cascading downward

AIRFLOW DESIGN

DESIGN DIGITIZE

To best represent the fluid shaping of the clay model, the slice method was used in the digitizing process. After the model had been translated into a series of contours, the digital representation was constructed and lofted.

The initial loft was uneven with overemphasis on contouring, the surface was then manipulated with various commands to assume a smoother surface and fuller volume.

The lofted surface was rotated to a horizontal plane to better depict the shape as it would rest on the wearers arm. ‘Syntax in space’ was a principle mentioned

by Paul Loh in his first lecture in March.

The structure and depth of an object changes based on personal position and relation in space.

This principle governed the following panelling process as the lofted surface began to adopt geometric form. The relevance of shaping and it’s relation to the airflow process were considered at each stage.

DESIGN PANEL

2D panelling was experimented with to determine the geometric quality that best represented the natural process. Panelling would enable the direction of movement to be depicted whilst also illustrating the dispersion and convergence of energy as air flows over the arm surface.

Triangular panelling shapes produced the most succesful outcomes, higlighting directional qualities and producing a surface that communicated the sweeping nature of the process.

Figure 3 and 4: Examples of lighting design that embody the sweeping nature of a process using overlapping techniques.

DESIGN PANEL

DESIGN OUTCOME Dramatic fluctuation through clear sectioning of energy phases.

Fluent but contrasting- the process is smooth but not at constant pace.

The shaping fits to the arm surface and accentuates dispersion areas with size relative to the wearer’s arm.

Negative cut out spaces illustrate the dispersion of energy, relative to the size of the cut out in the panel.

The 3D Panelling process determined the qualities of which the lantern surface must posess to represent the motion and energy within the flow of air. The use of smaller, pyrimidic panels was an attempt at conveying flow with overlapping surfaces but resulted in a concept that evoked an agressive nature. The use of cutout areas in panelling aimed to convey dispersive energy phases, in selected iterations, these were placed by point or curve attractors or manually distributed in the areas of the lantern that conveyed this energy phase.

A combination of cluttered, over-geometric panelling and the over use of these negative spaces rendered many of the iterations unsuitable. When the surface domain was altered to a wider scale, the resulting structure presented a smoother surface. The dramatic geometries of the structure conveyed elegance and lightness.

To evoke the fluency of the process and the distict energy phases within it, the chosen iteration would present a smooth surface whilst also portraying the vast fluctuations in energy levels within the process and the direction of flow by use of panelling.

DESIGN PROTOTYPE

Prototyping tested material strength, possible joinery and construction obstacles. Two panel sections were constructed out of different card thicknesses in formations like that of the final outcome at a small scale. The panel edges were scored and folded, revealing the difficulty of panel shapes with outward and inward folding.

The lightweight card tore easily in the slicing of small cut out areas and structure was tested by placing pressure on the apex of the pyramid where the lightweight form crumpled and the heavier card remained stable.

These tests indicated the suitablilty of heavier weight card, particularly where panels contain cut out areas.

DESIGN INFLUENCE Capturing directional flow in the panelling of a surface can emphasize movement and flow in a still object.

These tiles by UK designer, Giles Miller reflect the effectivness of employing this principle in design where the same shaped tile is rotated at different angles and heights to convey intensity and motion. The sectioning of these areas also illustrates phases of a type of flow, or in the case of the lantern, stages of energy.

Figure 5 and 6: Tiling patterns by Giles Miller. (Miller, G)

The use of different media can greatly fascilitate the pursuit of dintinctive design options. Lecture six introduced the idea that there is not single language in design, throughout the semester, the principles of various designers and artists had been introduced. The design intention of a mathematical artist, Henry Segerman was to produce artifacts using mathematical formulae, contrasting with that of artist, Eva Ziesel, whose design process was highly guided by a search for aesthetics. Different outcomes require the use of varied media and for the case of most designers, the use of computing techniques greatly alleviate the development and refinement processes.

The use of Rhino enabled the initial clay model to take digital form and be manipulated to an outcome that best represents the natural process.

AIRFLOW FABRICATE

FABRICATE UNROLL 1.Rapid high

3.

Low energy, floating airenergy airflow con- flow converging at wrist join verges rg at elbow

5: Dispersing outwards and downwards

2: High energy airflow disperses and

4: High energy airflow cascades

meanders outward after converging at elbow join.

and disperses, low energy

The lantern was divided into five panel sections that illustrated different stages of the airflow process as it passes over a surface.

Structural qualities and location of joins and tabbing were also taken into account so that joins were not placed on major areas of visibility. Using only five main pieces minimised confusion during the construction process.

The use of cutter machines enables designers to produce highly technical physical models of digital designs. This fabrication technology enables precision and rapid contruction as compared to an equivalent manual contruction attempt.

FABRICATE REPRESENTING THE PROCESS The use of black or white card presented the opportunity to depict the changing intensity areas where black represented high energy and white represented low energy. The result presented a stark contrast between sections, segregating the process too abruptly. The flow and smooth motion of the process had to be considered thus white card was decided upon

Shadow panels were incorporated into the design to illustrate areas of dense, high energy. This quality, with the lighting, would depict the fluctuating energy across the surface of the model.

The placement of lighting also contributed to strengthening the process representation.

Heavier lighting in the dispersive areas and fewer lights in the low energy areas would facilitate this. Because of the breadth of illumimnation, fewer lights were needed in all as the overuse of lighting would solidify this element rather than present it as a gradual flow.

To further represent the energy fluctuations of the airflow process, the fabrication of the design considered additional elements that would strengthen the depiction of these qualities.

Colour, shadowing and light placement were key considerations in refining the model before fabrication.

FABRICATE PROTOTYPE

Prototype 1 Scale 1:2

Prototype 2 Scale 1:1

FABRICATE INFLUENCE

Figure 7 and 8: Parkade at Southern Alberta Institute of Technology, Bing Thom Architects. Figure 9: Swarm Chandelier, Zaha Hadid (Zaha Hadid) Photo by Nic Lehoux (ArchDaily) Figure 10: Wood panelled Eco-lodge

The use of light to portray movement and flow of a natural process is incorporated into the design of the facade of the SAIT parking building. Capturing the nature of the process will be aided by the placement of lighting within the lantern form.

Shadowing and overlapping surfaces are evident in the lighting piece by Zaha Hadid and the facade of the eco-lodge retreat where filtered light conveys differing intensities of surfaces and volumes.

FABRICATE FABRICATE

As observed from the building of the prototypes, tabbing had to be neat and minimal in areas of multiple joins, particularly the converging areas of the model. Tab edges also had to be trimmed back to reduce conflict in these areas.

Double panels were attached to the inside of the panels before construction and lighting and switches were inserted during the building process as the inside of the form could not be accessed once complete. A hot glue gun was used in preference to PVA glue as joins were held more strongly and dried more readily.

FABRICATE SPECULATE

Lantern shapes to the arm surface, with the areas of intensity and dispersion sized relative to the wearer’s arm. The LEDs cast light circles on the lantern surface, reflecting the dynamic motion of the process and the lack of particle stillness. The white LED changes its tint from blue-white light to a green-white light, indicating change of energy from the beginning to the end of the process. High energy air that sweeps over the elbow concludes its journey over the arm in a low energy, dispersive flow. The shadow panels are slightly evident due to the overall soft lighting effect in the high energy areas.

Digital fabrication techniques facilitate the transfer of information from virtual to physical form, in this transfer, designers can physically articulate the vocabulary of the design (Macfarlane, B. 2005).

New fabrication technologies enable immediacy of form, which is a powerful guide in design where prototypes and progressive modelling can analyse and indicate design factors before final construction (Littlefield, D. (2008).

In designing the lantern, iterations, that contained double-curvature or nonplanar surfaces were not suited to the unrolling and re-constructing. In these cases, students were forced to alter their concept to suit the constraints of the fabrication technique. It is the opinion of Neil Gershenfield (2005) that access to fabrication tools can develop people and their ideas, so as humans design in the ‘digital age’ , the overwhelming readiness of progressive technology becomes a liberating factor in the translation from concept to construction

AIRFLOW REFLECT

AIRFLOW REFLECT With the continual advance of technology removing physical place from social interaction and daily task, the de-territorialisation of action indicates the independence of digital representations from physical reproductions (Mitchell,W. 2000). The apparent disengagement of the physical and virtual world is challenged when considering the consistent immitation of material space or action in digital network. In Mitchell’s ‘Software: A Genius of Space’, (2000 p.43) the copied action of deleting an item by clicking a virtual trash can icon or painting with a virtual paint brush cursor demonstrates the necessary interlink of the material and non-material world for human engagement. He notes, similarly, that the presentation of a physical item can produce its digital counterpart where a barcode scanner retrieves a body of associated information that is stored in a computer system when scanning products at a supermarket. These parallel actions indicate the dependence of the material and non-material world for human understanding, association and technology. Surely stock ordering systems in stores are eased with the aid of computer processing and ordering, similarly are new commands on Photoshop

easily comprehended when the title or the cursor style reflects the digital effect of the action.

Relative to design, architect, Paul Loh expresses the construction of prototypes and models as a design process in itself.

‘Making as a design process’ enables testing and analysis during developmental design to produce an assured outcome.

This correspondence of action indicates a valuable interlink and co-dependence between two ‘worlds’ of existence. This convergence intensifies when digital action replaces vital physical task such as the use of a pacemaker for heart function, coincidentally, this technology wouldn’t have been developed had there not been physical need (Collin, B,C. n,d). In the context of designing and building a lantern, the projected aim of creating a physical form along with the related contraints and inquiries, influenced the virtual design of the structure. Similarly, the contruction of the form from a series of flattened surfaces was heavily reliant on virtual information for the construction process. Evidently, the mutual dependence of these representations is strong, and although technological dependence continues to increase, its reliance on physical parallel is likely to remain intact.

These parallel actions indicate the dependence of the material and nonmaterial world for understanding, association and technology.

AIRFLOW REFLECT Contextualising a diverse range of design representations, virtual environments has acted, at times, as a platter of ideologies and a sequence of thought. Presented through lectures and readings, the theories of various scientists, designers and authors have introduced concepts of the relativity of design to social, psychological, mathematical, neoplatonistic and evolutionary thought processes. Contrary to initial thought, the considerence of the wide range of viewpoints and the value they have taken in shaping their advocate’s worldview stirs appreciation and partial considerence of the relativity of this thinking to personal creed. With the introduction of each thematic idea, students were able to form personal understanding on the design industry and its directive forces.

Introduced early in the coarse was the prominent debate of the value of technology in

prominent debate of the value of technology in design and whether it has had a detrimental effect on the workings of the creative mind. Strengthened by the progression of the design progress, students were able to connect new understanding with personal experience, aiding in the transformation of naive thinking to informed scope. The introductory readings by Phillip Ball conveyed a myriad of ideas, with a relatively undetectable sense of bias.The multiple arguements worked to confuse and frustrate the minds of some, coincidentally consolidating prior ideology and provoking thought in others. Similarly, when virtual space is prestented as a replacement to physical space, acceptance of the presented view wasn’t encouraged without lengthy considerence of the mixture of possible stances. The translation of a natural process into the design out

come was a clever task in encouraging students to embrace a concept and govern their outcome around it. In Virginia Wolf’s ‘Death of the Moth’ she states, “The success of the masterpiece seems to lie not so much in their freedom from faults...but in the immense persuasiveness of a mind which has completely mastered its perspective” (Frederick, M 2007). Likewise, some of the most successful outcomes appeared to be those that had a solid foundation of the initial key principles of their process as these students were progressively able to justify every choice based on something more credible than personal aesthetic preference. In relation to future studies and career choices, virtual environments has introduced vital skills, widened mindsets and has been indicative of a small facet of the experiences of an architecture student.

The value of this learning experience is sure to permeate future design endeavours predominantly in developing skill and experience as well as loosening pre-conceived assumptions with the continual bombardment of design ideology.

AIRFLOW REFERENCES Ball, Phillip (2011) ‘The Man Who Loved Fluids’ in Flow: Nature’s Patterns, Oxford University Press, p. 1-18 Christopher, Henry (2011) (Figure 8,9) ‘SAIT Parkade’ in Bing Thom Architects, Arch Daily.

Retrieved from http://www.archdaily.com/129142 Collin, Barry C. (n,d) ‘The Future of Cyber Terrorism: Where the Physical and Virtual Worlds Converge’ in 11th Annual International Symposium on Criminal Justice Issues, Santa Caterina, Brazil. Retrieved from http://www.egov.ufsc.br/portal/ sites/default/files/anexos/29436-29454-1-PB.html Frederick, Matthew (2007) 101 Things I Learned in Architecture School, MIT Press, Cambridge, MA, p.78-92 Hadid, Zaha (2006) (Figure 10) ‘Swarm Chandelier’ for Established & Sons, London Retrieved from http://www.zaha-hadid.com/design/swarm-chandelier/ Littlefield, David (ed.) (2008) Spacecraft: Developments in Architectural Computing edited by David Littlefield, London: RIBA Pub Macfarlane, Brendan (2005) ‘Making Ideas’ in Architecture in the Digital Age, B, Kolarevic (ed.), Spon Press, London, p. 182-197 Miller, Giles (n.d) (Figure 5, 6) ‘Our Surfaces’ from Giles Miller Studio, London, Retrieved from http://gilesmiller.com/surfaces/ 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 Naughton, Russel (2002) (Figure 1,2) ‘Etienne-Jules Marey’ in The Pioneers, Engineering at Monash University, Melbourne Retrieved from http://www.ctie.monash.edu.au/hargrave/marey.html Poling, Clark (1987) ‘Analytical Drawing’ in Kandinsky’s Teaching at the Bauhaus, Rizzoli, New York, p.126 Rewald, Sabine (2004) ‘Cubism’ in Heilbrunn Timeline of Art History, New York: The Metropolitan Museum of Art retrieved from http://www.metmuseum.org/toah/hd/cube/hd_cube.htm (October 2004)

Sovina Chow

MODULE 4: REFLECTION Virtual Environments Semester 1, 2012 Student Number 539019 The university of Melbourne

Ideation “Increase in wavelength when further away from the source, and decrease in wavelength when closer to the source.�

Dopple Effect

Virtural Enviroment

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Natural Process

Doppler Effect

might sound very abstract; however it is a natural process occurs everywhere around us. Have you ever notices that when a police car or emergency vehicle approached you with its siren blasting, the pitch of the siren sound was higher. But when the vehicle moves further away from you, the pitch was lower- this is Doppler Effect.

This process occurs whenever the source of waves is moving with respect to an observer.

When the source is moving towards the observer, each wave crest (or wave front) would bunch together, therefore the distance between each wave would decrease, hence an upward shift in the frequency. On the other hand, when the source is moving away from the observer, the wave treading behind the moving source would speared out, the distance between each wave would increase, hence a downward shift in frequency would occurred.

This effect does not only occur to sound waves but any kind of wave source. For example, if we see a star or some kind of galaxy that are moving towards us, the light wave once again bunch together. The star would appear to us in blue color (blue light wave have a shorter wavelength).

Meanwhile when the star is moving away from us, it would appear as a red color (red light wave have a longer wavelength). The red light indicates to us that stars and galaxy are moving away from each other, this is a heavy evidence indicating that the universe is expanding in all time.

Virtural Enviroment

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Development

1 Source Since the Doppler Effect is all about the “source” and its “observes”, I think there is a need that I have to define what they are first. Since we are making a lantern that can be place on our body, so I would like to find a “source” that on our human body that would produces waves, and I decided to choose “Sound” as the source. Therefore decided my design would be place around the neck area as there is where we produce sounds.

2 Increasing in size When sound wave is emitting form a point of sources, its wave front would pushes through in all direction, and expands out so that the ares it cover would be larger. I can repersent this concept by increaing the size of the objects.

3 Decreasing in intensity Also as the sound wave travel the further away, the less “sound” that we can hear.v I decided to symbolic this process by using the idea of decreasing in intensity. This can represent by the thickness of the form.

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Development The 2D abstract sketches adopted the 3 ideas that I have set out. I start off with a simple circular and later move away to use more curves and movement to represent the waves of the Doppler Effect.

Finial 3D plasticine model are made to have different views of how the actual design will look like and hence the model can be digitised in Rhino.

Virtural Enviroment

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Precents Analysis Since the Doppler Effect is a nature wave process, which cannot see by our naked eyes. The first challenge I was facing were to find a way to capture the form of waves.

Another challenge that I was facing was how to create 3D continues surface. I find it very difficult to representing the wave and change of intensity on my model.In order to combat this challenge, I studied the work of some architects from around the word

An example that appealed to me was British artist Daniel Widrig Sculpture “Binaural Object”. Binaural Object embodies spiky and edgy geometrics as a result of the numeric data underlying its structural form. This numeric data is derived from the sound input from Frans de Waard's piece, "3'20 Pop For Micheal." The data is then further digitized to generate geometric shapes. The musical input yields inherent patterns, wave form, jagged edges, color and height/density variance.

In Frank Gehry’s Guggenheim Museum in Spain, which had known as one of the master piece in the architecture world, shows how large piece of surface can be held up by folding and twisting into different angles.

Another example I have looked at is the Martin Luther Church designed by Coop Himmelb(l)au. He had designed a steel whirlpools spiral into skylights that resting on top of the church. This sculpture like spiral object had three large winding openings in the rood guide like into the interior.

This design not only help me to gain more ideas on how to create my model, but also inspire me in terms of how the LED light can be place in my lantern and how might my model sit on top of my shoulder.

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Reflection Within module one, I have faced many difficulties and challenges.

At the start of the module, I seems to get really confuse in terms of how to distinguish the difference between a natural forms and natural process. However by looking at some past example and works done by other student in the studio really helps me to get back on track.

The next challenge was to generate models out of the natural process. At first all my sketches and sketch models were pretty literal. I was stuck on the form of the circle wave concept. After just doing purely sketches on paper and really try to pull out different concepts from my process, enable me to start thinking outside the box. And generate more diverse and abstract structures.

I guess the most challenging part of this module is the fast paste and heavy workload. We have to come up with all these design and presentation in such a short period of time. Until this moment, I guess I am still pretty bad in terms of time management.

For the next model, I really need to push myself harder in terms finishing works before the deadlines.

I found the Mathematical Art lecture given by Henry Segerman particularly interesting. Segerman talks about modeling shape using purely mathematical equation or using Maths generating shape, guild by user. Because these shapes are form base on some mathematical equation, there are particular patterns or forms that we can frond within the structure. I have always been interested in mathematics and physics, this is one of the reason what I choses Doppler Effect as my natural process. I would really like to explore more on this topic in the future.

Virtural Enviroment

Design

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Digitization

Intial attampt I have use the contours method to translate my physical plasticize model into digital form (Rhino), this seemed most appropriate and accurate since my physical model has a very solid form.

By using picture frame, I am able to trace out the lines of the contour in Rhino.

I have created a centre reference point in order to place the contours into position. After moving them into the right order, I am now ready to loft those curves that I have created.

Unfortunately after my first attempt of lofting, the object looked very different to my original model, Random folding and twisting were all over the place.

Not only most of the shape of my original design lost, also the model no longer represents the natural process of Doppler Effect.

In order to overcome this problem, I have try to redraw my contours using less points and “rebuild� the surface by using less control points. Yet the end result are still quite disappointing.

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Digitization Refinement I took a step back and looked back at the three rules-“Source, Increase in size and Decrease in density” that I have taken out of my natural process. The model that I have at this stage doesn’t seem to have the properties of “increase in size” and “decrease in density”. In order for my design to be refined to not only satisfy my natural process but to also be digitised into Rhino, I decided to change the shape of my original design and redraw the contours and manipulate its form using “Control points” and “CageEdit”.

Front

Top Left

Back

The new model not only increases its size when it moves away from the source but there is also a clear difference in terms of its density.

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Panelling When considering which panelling method would be the most appropriate to my design, there is two main points I would like to take into account: The panelling would represent my natural process 1) 2) Light would shine through in an attractive fashion

Basic 2D TriBasic Panel using point attractor

Basic 2D Angle Box Panel using point attractor

Basic 2D Wave Panel using point attractor

Custom2D Panel using point attractor

Basic 2D Box Panel using point attractor

Custom 2D TriBasic Panel using point attractor and fine edge

Basic 3D PyramidPanel using vfix distance

Basic 3D Pyramid Panel using point attractor

Custom 3D Panel using point attrac-

Custom 3D Panel using point attractor

Custom 3D Panel using fix distance

Custom 3D Panel using point attractor

Since two of the main concept form my natural process are “increase in size” and “decrease in density” when moving further away from the source. I decided to use the relationship between the brightness of light and the panelling size to represent them.

The Parasite Office located in Moscow, was a creation of Russia Architects Za Bor. The building is setup to be located floating in between two buildings that have blind walls facing each other over a wide alley. The structure is hold up by steel clamps on the neighboring buildings and hovering off the ground so pedestrians can walk under it. It also glows at night, by using translucent plastic shell, which looking like a wasps’ nest from hell.

I am interested in this aforementioned design of the translucent plastic panels and the relationship between the panels and the open space. Although light does not shines thought the window in this design, however the growing panels give a solid and dense feeling. Perhaps I can incorporate this concept into my design, i.e. panels that are closer to the “Source” would have a close surface which it would have a more solid and close feeling. On the other hand, panels that are further away from the “source” would have an open surface which allows light to shine out and created a feeling of spreading out.

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Finial Design WIth my finial design I decided to use Basic 3D pyramid panel as it not only can vary in terms of surface but also height by using attractor points.

My biggest concern using this panel was that the panels would overlap each other since my base model has many curve. After try and errors, by using a 12 time 16 grids and attractor point to represent my “source” would be the best way to go. Then I “extract center Grid” which is the bounding layer of the tip of the pyramid. Sine I would like to create a denser area near the source, I decide to make the pyramid higher when it is closer to the source and lower when further away. In order to achieve this I offset the center grid towards the point attractor (source).

Furthermore, I would like to create opens that would be smaller when it get closer to the source and larger when it is further away. In order to achieve this feature, I offset the boarder by using attractor point. And this is my finial design.

finial design : back

Basic 3D pyramid

finial design : front

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Reflection I had found Module 2 extremely difficult, not only because of the frustration with Rhino but also how to maintain the original form of my model. As my original clay model includes a lot of curves and Rhino only limitations, I found it nearly imposable to generate the form of my original model. It end up I have to modified and redraw all my contours in order for Rhino to be able to loft them.

Panelling is fun but at the same time make you feel very frustrated. Even though I have rebuild my model and created a smooth surface, there are still too many curves that sometime the panels would fold and twist crazily. In order to overcome this problem I have try a lot of different combinations in terms of the distribution of grids points on the model surface. Some I even have to go back and loft my contour in a different way. But I do enjoy the fact that we can create or own 2D and 3D panels. Unfortunately I had spent too may time on digitising the models and run out of time to try out more panels.

At the end I choose to use a simple basic 3D pyramid panel, although it is something that I created, however it have provided all the is necessary for my design and nature process.

There are many times that I found the original form and design concept (Doppler Effect) had been lost during digitisation and elaboration. Changes had been made due to restriction of the program itself or more of my lack of ability in the program. However I believe my finial model had maintained my main concepts and I am now more comfortable with the program.

Time management is still a big program for me. As what I have mention in module 1 reflection, sometimes it is very hard to be satisfies and don’t know when to move on. For example, for this module I have spent too much time in digitisation the model into Rhino which causes I don’t really have the time that I want to work on panelling. Since we need to physically build our model and time management is essential for this module as everyone would send their work to Flalab, really need to push myself harder and sent in my work as early as I could.

Virtural Enviroment

Fabrication

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Panel Modification

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Towards the end of my model, some of the 3D triangle panels were overlapping each other.

In order to overcome this issues, I tried to change the magnitude of my offset grid, even though there were less overlapping, unfortunately overlapping still occur no matter what magnitude of offsets I am using. It end up I have to manually deleted some of the overlapping panels and redraw some of them.

As my voice is the “source� , I decided to place my model on my left shoulder. However since my model are using 3D panels and it is relatively big, it would not sit on my shoulder unless I make some adjustment to the model.

I decided to take out some of the 3D panels of the model in order to create a smooth surface, also measure out the dimension of my shoulder in order for the model to fit right on top of my shoulder.

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Precents Analysis

The biggest concern of fabricating my digital model into a physical form is that: can the model hold up its own weight. Since paper is the only material that we are allow to use, also there are quite a lot of opening in my design, at first I really don’t think that my model can support its own weight without creating an inner support . But then I came across this project called “spaceframe structure

by Davide Del Giudice and Andrea Grazianothat is really similar to the project that we are doing right now.

This project is an installation of a 3D surface of flat triangular paper panels “massive” unrolled on plane and realized with laser cut technologies. Triangular panels create a 3D pyramid surface configuration with parametric holes in the interior faces that have dimension which follow distances form centroid areas faces and one point attractor defined by user.

By looking at this project, it demonstrated how individual 3D panels can be strongly connected without any underlying structural support. Also, since this project is working on a much larger size than my model, I am confident that I would not need any inner support for my model.

Yet i would still like to make a physical prototype to test our th strenght of my model.

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Unrolling I choose to use the strip method to unroll my model, this would not only make it easier to fabricated but also give the model an extra support. Before unrolling, I decided to put the model into different layer and give them a colour coding, to make it easily when come to unrolling and physcially constructing the model.

Top

Bottom Virtural Enviroment

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Prototype

Manually Constructed Partial Prototype Since my 1:1 model would be larger than half a meter, so I decided to make a 1:4 model in order to test out the strength and see whether I need an extra support for my model.

When I was constructing the prototype, I found out that it is very hard to join the base of the pyramid. Yet even though I join the rest of the strips without using the base strips and also I am just using normal A4 paper which would be a lot weaker than the Ivorycard the model can still with stand its own shape pretty well. So I decided that I can work without a fin edge support non the base of the pyramid.

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Prototype

1:1 Scale Prototype using Fablab

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Prototype

1:1 Scale Prototype using Fablab

After comparing the 1:1 prototpye with my digitial model, the physical model looks very different to what i want to achieve.

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Model Modification

Few things that I had notice during the construction of my 1:1 phototype and would like to make adjustment to my later attempt.

1) 2) 3) 4) 5)

Even though model itself can withstand ones weight, however the shape of the model look slightly different to my digital model.

The Model does not sit on my shoulder even though smooth surfaces were created.

Very hard to construct since I have only created tabs on one side of each strips.

Not much light can pass through with the use of 2 LED light and not enough openings No where inside the model I can attach th LED lights, extra tabs have to be created.

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Model Modification

I had manually enlarging openings that created by offsetting border and also manually draw in more openings, in order let more light out of the lantern.

I have createed more flat surface for the shoulder area, so that the model can sit batter on my shoul-

To make the construction easier , I had created dotted line for edges that need to be bend inwards.

Also tabs were created for both side of the strips which give the a overall better support for the structure and also easily to stick the strips together.

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Model Modification

This time instead of using Ivory card I choose to use Mount board, which the model now have more strength and look more similar to the digital model.

However using Mount board means that the model is heavier and less flexible, which it is a lot harder to cut out the paper and take a much longer time to stick them together. Moreover the top part of the board would peel off. Also due to the laser cut, burn can be seen around the boarder of each panels

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Model Modification

During the construction of the model, I found out that some of the “flat panels” were unrolled in a upside down manner. Hence they no longer fit into the model, and this giant hole was created. However while I was trying to fix up the problem, I accidentally found out that my shoulder fits perfectly in that “hole” and the model can stand up quite steadily.

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Fabricating

1:1 FInial model

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Lighting Effect

Connecting the LED lights with the batteries and cramps.

At first I attached batteries directly to the LED lights and placing it inside the Lantern by cramps. However by using this method, it is very hard to turn off the lights. Also it will be very inconvenient during the parade.

Therefore I decided to wire up all the LED light (in parallel, so that the intensity of every lights would be the same) and attract it to a batteries with an on/off switch.

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Lighting Effect

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Finial Model

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Reflection In attempting to translate my design from the digital world into reality, quickly I realise I can never achieve a 100% similar physical model and I would have to makes changes to my design in order to overcome some of the limitation occur in reality. The most obvious restraints of fabrication is the physical limitation of material. I had struggled to find ways that would allow me to fabricate the lantern without losing its initial design and concept. Sacrifices and changes need to make during making process of the lantern in order to overcome some of the limitation of the material itself. Also given that we only have three weeks to complete this module, this instantly eliminated several design options, as they would be too time consuming to make In my option digital fabrication process are really helpful for not only architect and designer but also people like engineer or even chemist (working out the structure of a new molecule), because it enable us created pretty much any structure we want in the digital world. However when it comes to physically present that design, it is largely restrained by the materials that are available and the construction method.

Even though the project that we are working at is relatively small, I think most of us had somehow struggled with the limitation of materials. Even though more new materials and construction method would be available in the future, yet until than any design that cannot be built in reality is unlikely to be given much consideration.

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Subject Reflection What make Design different to pure artwork? It is a process of constantly re- negotiating one’s ideas and approaches to a design problem. By studying Virtual Environments not only helps me to develop my skill on using Rhino, but also the ability of thinking outside the box and challenge myself in terms of solving the design problems that was up against me during the process. It also gave me a taste on how an architect or designer feels like when they try to make up something that is entire new. There were many times during the semester that I thought that I would not make it till the end of the subject, not only due to problems of using the software, but also that fact that we have to work on a limited time frame and the long wait of getting out work back from fablab. However due to these factors actually help me to learn how to spend my time in a more wisely and efficient manner, at the same time to develop a habit to plan ahead. Even though it is a very time consuming and frustrating subject, after all this is a very valuable lesson for me to learn.

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V I R T U A L E N V I R O N M E NT S M O D U L E F O U R | R E F L E C T I O N S E M E S T E R 1 / 2012 | G R O U P T W O R E N E E J A C O V I D E S | 585430 VIRTUAL ENVIRONMENTS MODULE IV ENVS 10008 2012 SM1

REFLECTION WEEKS 10 - 12

I D E A T I O N As the base for the ensuing lantern project, I chose to scrutinize the broad topic of ‘life cycles’ in natural development. In module one I closely examined the recurring and evolutionary processes of specific creatures. I was intrigued not only by the physical transformations undertaken by an entity on a bodily level, but the metaphysical changes occurring within individuals, species and, essentially, throughout the entire worldly sphere.

Figure 1.1

Figure 1.2

During these first weeks I was greatly inspired by the lecture material, comparing mathematical concepts and regularity to the biological and natural. Many a new format of mapping and perceiving interactions between nature’s design was introduced to me during this period. Documenting sound, motion, light, communication, technological contact and more incorporeal subjects through graphically fresh and advanced means enlightened to a new take on reasoning.

Extracts from Phillip Ball’s texts, ‘In Flow: Nature’s Patterns’, ‘In Branches: Nature’s Patterns’, ‘In Shapes: Nature’s Patterns’, assisted with this new approach to analysis of a natural process. Ball’s philosophy “All natural phenomena display a harmony based on number and regularity” was thus appropriated for my module one exploration.

I developed a personal definition of pattern in relation to the notion of broad life cycles, in that cycles could be elucidated as so for they occur consistently and are translated to innumerable scales and situations in the natural world.

This imagery demonstrates my initial focus within my chosen natural process: [Figure 1.1] Photograph of a butterfly venturing from its cocoon, as part of a continuous life stage for its kind.

[Figure 1.2] Stages of physical development for the human foetus, illustrated in a sequential manner.

[Figure 1.3] My own drawing, capturing the recurrent system of a life cycle, particularly inspired by the movement and sloughing of a snake.

Figure 1.3

VIRTUAL ENVIRONMENTS MODULE IV ENVS 10008 2012 SM1

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Figure 2.1

Figure 2.2 Figure 2.5

C A P T U R I N G M O T I O N,

Figure 2.3

Figure 2.4 [Figure 2.1] Photoshopped drawings, attempting to convey butterfly action of expanding/contracting wings through static means.

[Figure 2.2] Mapping out said movement and creating a linear diagram, which may be applied to the notion of life cycles universally.

[Figure 2.3] Notion of life with peak at adulthood, transposed as abstracted form.

[Figure 2.4] Notion ‘figure 8’ pattern in life, early form produced in RHINO 5.

C O N V E Y I N G L I F E ‘S T A G E S’

Figure 2.6

Locally, I examined three subjects pertaining to this area. Drawing on the butterfly cycle, I took on the topic and attempted to illustrate movement and transfiguration of form over prolonged and specific stages of this creature’s life [figure 2.1].

I also began to render this theoretical study into a diagrammatic structure; to apply a mathematical lens per se [figure 2.2].

I was greatly influenced by the prospect of encapsulating motion in a static state, as was mastered by late nineteenth century studies by Etienne-Jules Marey into the swift movement patterns of natural beings [figure 2.5].

Briefly looking to humans as a subject, I also tried to convey the stages of life over time as a tangible shape [Figures 2.3, 2.4]. The precedent of ‘Webb Bridge’ in Melbourne’s Docklands [Figure 2.6] had great impact on deduced forms here, as well as serving to typify mathematical pattern as a base for organic form design.

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S N A K E S L O U G H I N G A S A P R O C E S S

Finally, my macro idea of life cycles led to a distinct focus on snakeskin sloughing, a process which must be undertaken over four times annually for the creatures. I attempted to diagrammatically depict this activity, embracing a ‘connect-thedot’ technique to produce abstracted shapes from photography/information found in textbook resources [Figure 3.1].

My drawings centred upon capturing the motion of scales being turned inside out during sloughing on a minute level and, like in earlier ideas, endeavouring to express the movement statically [Figures 3.3-3.5].

Figure 3.1

Figure 3.6

Figure 3.2

Figure 3.7

Figure 3.3

Figure 3.4

Figure 3.5

VIRTUAL ENVIRONMENTS MODULE IV ENVS 10008 2012 SM1

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F I N A L

F O R M

A PATTERN OF FLUIDITY, as represented in SEGMENTED STAGES was my conjectured theory from the entire vault of investigation and manifested in my final forms [figures 4.1 - 4.3]. The abstracted form was derived from sketch proposals clay modelling and RHINO experimentation, where a ‘cascade’ of scales in alternating directions demonstrated sloughing at a micro scale [figures 3.6 - 3.7].

Figure 4.1

Figure 4.4 Watercolour illustration/digital manipulation. Proposed context for form for wear on the body.

Figure 4.2

Figure 4.3

VIRTUAL ENVIRONMENTS MODULE IV ENVS 10008 2012 SM1

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+How do forms and contexts (of use and resources) influence each other?

Relative to this form of ‘product design’ explored in the project, context as a background concept and potential use was fundamental to the development of an ultimate form. To take the natural world as a subject for initial ideation – to morph a metaphysical notion about life’s stages into a non-literal shape – evidenced how research and a thematic approach correlates to production in the design practice. Nonetheless, I recognized that context arrives in preconceived direction and prospective utilization for such a project.

Such is verified in the exemplar of AAMI park in Melbourne by Cox Architects (2011) [Figures 5.2 - 5.3], where the context of venue purpose and usage influenced the design for a shapely stadium façade. On an architectural level, the ensuing form defines further decisions in the context of construction and deployment of interior amenities.

For myself, the concluded form was inherently influenced by its purpose as a lantern, resulting in an item which could be fit for lighting and wear. I can identify where this influence was an issue in the undertaking, with my module one schemes overly influenced by fabrication and operational capabilities (to be addressed in modules two and three), thus resulting in an overly literal and prepared form. Accordingly, the impact of thematic and usage contexts is great, but one must not delve too far forward in hypothesizing stages.

Figure 5.2

Figure 5.1 Adapted clay model for ideation final, as carried out in early module two.

Figure 5.3

VIRTUAL ENVIRONMENTS MODULE IV ENVS 10008 2012 SM1

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Figure 6.6

Figure 6.1

Figure 6.8

D E S I G N I N G, D I G I T I S I N G

Figure 6.7 Figure 6.2

Module two began the process of converting my design into a digital format within Rhinocerous 5 [Figures 6.1 - 6.5].

It was in the first versions of this technologically driven model that I realised faults in the overly convoluted design [Figure 6.6]. I had ventured too far in my thinking, avoiding the production of a more solid, fluid, singular form meant for the conclusion of module one.

Despite this, I formulated my panelling notion as inspired by my natural process, trying to create a scale pattern with various 2D and 3D panelling techniques in the program [Figures 6.7 - 6.8].

Experimentation was vital to the production of a final digital model.

VIRTUAL ENVIRONMENTS

Figure 6.3

Figure 6.4

Figure 6.5

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Figure 7.3

Figure 7.4

Figure 7.1

R E - E V A L U A T I N G

F O R M

I recognised the need for a more continuous and solid form for a workable and aesthetically successful digital translation/panelling process to occur. As such, module two also saw me reassess my form concepts to create a shape free of complex detail, ready for more creative, manageable tessellation.

The composition such an operation is seen in Figures 7.3 - 7.4, and the outcome in Figure 7.5.

As such, I discovered the significance of broadly assessing work within the design process and taking steps to renovate previous formulations for overall development towards a triumphant result.

Precedents which influenced such a progression arrived in the National Assembly for Wales by Richard Rogers in the UK [Figure 7.1] and Melbourne University’s Architecture Building installations (2012)[Figure 7.2]. These two designs encompassed smooth, continuous shapely composition whilst featuring a sturdy, inventive style of panelling, an aim for my lantern’s design.

Figure 7.5 Figure 7.2

VIRTUAL ENVIRONMENTS MODULE IV ENVS 10008 2012 SM1

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S C A L E

P A N E L L I N G

I experimented with 3D and 2D panelling techniques, along with ribbed/extruded curves to form a panelling concept based on snake scales.

A structure was deemed compulsory during the digital work, but was later unnecessary after prototyping. Panelling designs displayed feature panelled ‘skin’ designs considered.

Figure 8.1

Figure 8.3

Figure 8.2

Figure 8.4

Figure 8.5

VIRTUAL ENVIRONMENTS MODULE IV ENVS 10008 2012 SM1

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P R O T O T Y P I N G

Testing my panelling concepts physically utilising card was also necessary in the module. Here I was able to determine specifics such as paper weight and adhesive type. The inclusion of light sources in photography allowed me to observe the visual effects formed through dissimilar scale tessellation patterns, along with giving an indication as to the most appropriate shade of card.

Figure 9.1

Precedents addressed during this stage of the design process included the Times Eureka Pavilion by Nex Architects in London for the RHS Flower Show (2011) [Figure 9.5]. Besides sculpting a design from analysis of a natural process, the means of panelling cells in the project to produce varying light patterns and accommodate negative/positive space influenced my own development here.

Figure 9.2

Figure 9.3

Figure 9.4

Figure 9.5

VIRTUAL ENVIRONMENTS MODULE IV ENVS 10008 2012 SM1

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Figure 10.2

Figure 10.1

F I N A L

D I G I T A L

D E S I G N

The final design at the conclusion of module two encompassed a uniform scale pattern, with extruded edges and an interior, skeletal structure.

Remaining issues with this design (identified in module three) included: • The loss of ‘bumpiness’ in the five segments • The complexity in the panelling • Incapability of extruded edges to unfold properly

Figure 10.3

+How do different media support different kinds of design inquiries and refinement?

The response to this question may also serve as a reflection means for the module, in that different media was subsequently explored to refine the design and make it usable for fabrication. The module gave me the opportunity to learn the capabilities of RHINO Nurbs modelling for contemporary working in today’s architectural/design sphere. Discerning a distinct contrast between traditional, ‘hard’ methods and virtual formulation of imagery was also a evolution in my own mind frame, allowing me to comprehend how differing media can best respond to particular design queries.

Figure 10.4 - Orthographic views of module two final proposal

Take for instance clay modelling and Nurbs software development. Although both a necessity for the continuation of the lantern project, the former is most obliging for ideation stages, where quick, organic adaptations can be made and physical impressions can be understood. The latter in digital methods allow for much more intricate form modifications, with new possibilities like panelling and unrolling threedimensional objects coming forth.

VIRTUAL ENVIRONMENTS MODULE IV ENVS 10008 2012 SM1

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Figure 11.1

Figure 11.2 adapted model (skin only)

Figure 11.3 adapted model with extruded ribs.

Figure 11.5

R E - E V A L U A T I N G M O D U L E T H R E E

Once again, the form of my final module two design needed adapting, with Figure 11.1 showing this process and Figures 11.2 - 11.3 the achieved model.

Due to a lack of understanding at the time, unrolling the extruded surfaces in the design was not possible. A focus was given to unrolling the essentially twodimensional skin, which was not joined for this first attempt [Figure 11.4].

The scale pattern was also dissimilar to the module two final, due to unforeseen circumstances causing the original custom 2D design to be lost from file.

As such I developed a new scale scheme, which did not possess the same consistency in shape/proportions as before, a downfall in my opinion.

Unrolling also posed problems, whereby triangulation of the surface caused excessive overlapping and required numerous folding for each scale, highlighted in Figure 11.5.

Figure 11.4 - Unrolled individual scales from week 7

VIRTUAL ENVIRONMENTS MODULE IV ENVS 10008 2012 SM1

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P R O T O T Y P I N G

Derived from my unrolled, adapted skin, a partial prototype was generated early in module three.

This process revealed inadequacies of scale, as well as the deprivation of curvaceous, smooth shape dictated by this panelling method.

Regardless, this prototype Figure 12.1 uncovered the inherent strength of the panelled skin without the need for an interior structure, as determined by the many folds in the scales. Therefore, I evolved the design further by disregarding extruded curves and internal ribbing, choosing to focus on just a skin. This relied on a further adaptation to the form in order to close the recess at the innermost seam of the design.

Figure 12.2

Figure 12.3

A relevant precedent I discovered when it came to fabrication was this ‘Suck UK’ wooden bulb light [Figures 12.4, 12.5]. I found that it was a paragon for single-medium design and effective joining between components. The regularity of the box-like panels emitted a visually transfixing appeal which I wanted to emulate.

Figure 12.5

Figure 12.4

VIRTUAL ENVIRONMENTS MODULE IV ENVS 10008 2012 SM1

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F I N A L

A D J U S T M E N T S

Re-panelling for the second time in module three, I was able to attain a patterned consistency like the resultant in module four. Further, I sealed the ‘skin’ of the form by manually drawing my own panels [Figures 13.1, 13.2]. I found that this model revealed weaknesses in the Rhino-driven, digital fabrication method - in that the vast majority of all triangulated panels required laborious re-defining in the way of size and direction.

Figure 13.1

The culminating panelling design [Figure13.3], with its scales that followed the mean of the model’s natural curve well, were able to be joined/stripped horizontally - an advance from individually unfolded scales as composing the first prototype.

Figure 13.4

Figure 13.2

At this point I was inspired by the fluid, tessellated and abstracted projects

by London based architect Marc Fornes under TheVeryMany. ‘Tesselion’ [Figures 13.4, 13.5]. Fornes’ pieces correlated to my own position in the design process, exploring the possibilities of patterned, segmented components, working in composure to form a three dimensional, doubly-curved, organic form.

Figure 13.5

VIRTUAL ENVIRONMENTS Figure 13.3

MODULE IV ENVS 10008 2012 SM1

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U N R O L L I N G, C O N S T R U C T I N G

The final digital process was to unroll and nest the joined strips in Rhino and prepare them for the FAB LAB’s card cutter.

Such preparations involved colour coding curves to represent cut lines, score lines and ‘paper’ margins [Figure 14.1].

The model was also colour coded in strips for easy visual reference during the fabrication process [Figure 14.2].

Colour coding was also applied to the issue of folding direction.

Figure 14.1 - Colour coded, nested pieces.

6a

5a

5b 6b

04

03

Figure 14.4 02

10

01

09

Figure 14.2 - Pieces colour coded in relation to 3D model [Figure 14.3].

Figure 14.5 Fabrication process

08

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Figure 14.3

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F I N A L: M O D U L E T H R E E

Figure 15.3

Figure 15.1

Figure 15.4

Figure 15.2

VIRTUAL ENVIRONMENTS MODULE IV ENVS 10008 2012 SM1

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A D A P T A T I O N S

[In Module Four] After producing a mostly successful lantern, some further refinement was necessary. Firstly, I added a section to the ‘shorter end’ of the form, allowing it to culminate at a point and extend the curve length.

This was to allow for wear around the neck, as the first model did not sit comfortably. The model [Figure 16.5] was also scaled by an increment of 1.6, greatly increasing its size in order to reduce ripping at score lines and folding difficulty.

I also created a proper light source, utilising LED bulbs to create a soldered, flexible string for placement in the lantern [Figures 16.1 - 16.4].

Figure 16.1 - components for lighting.

Figure 16.2 - Soldering lights to wire string

Figure 16.3 - Completed wire light ‘string’

Figure 16.4

Figure 16.5 - Second model being fabricated

VIRTUAL ENVIRONMENTS MODULE IV ENVS 10008 2012 SM1

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+How do different kinds of fabrication technologies make possible, as well as constrain, what can be constructed?

Throughout module three and the entire fabrication process, exposure to different design projects occurring globally today allowed me to fathom the impact of digital methods in the architectural field. My own work during the period provided patent proofs of what can be fulfilled utilising virtual technology, whilst also relaying what is limited. Considering the medium of cardboard and its two-dimensionality, the ability of a virtual design framework to transform it into a form with depth and natural character is notable. Virtual design allows for elaborate outcomes, whilst maintaining a systematic, accurate quality not realised in traditional drawing or model-making. It allows the designer to exceed their own expectations, such as demonstrated through Jon McCormack’s evolutionary virtual creations featured in the lecture of week 11.

Figure 17.1 - lShadow patterns

Figure 17.4 - Lantern, plan elevation

Figure 17.5 - lantern, perspective view

+continued Despite this, certain drawbacks were encountered for the lantern project, and all fabrication technologies today - an instance arriving in the faulty panelling of my derived NURBS surface, which could not seal a void in the patterned skin automatically. Here, imaginative, ‘hard’ design methods may take preference and triumph. I found that working with artistic mediums, such as clay and card, allowed me more creative freedom and spontaneity - a standard which may be depreciated with the cleanliness in virtual technologies. In reflection, the module hinged upon identifying and executing a sense of balance between differing design methods, and discovering where this has taken place in the commercial domain.

VIRTUAL ENVIRONMENTS Figure 17.2 - Shadow patterns

Figure 17.3 - Shadow Patterns

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Figure 18.2 - side view

F I N A L M O D E L, S E M E S T E R T A S K

Figure 18.3

VIRTUAL ENVIRONMENTS Figure 18.1 - lantern in bodily context

MODULE IV ENVS 10008 2012 SM1

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M O D U L E F O U R: R E F L E C T I N G T H R O U G H R E S P O N S E S +How may representations and their material realisations (or insights) be mutually dependent? | General Reflection.

To define what warrants ‘representation’ was an initial course of action in the module, complemented by the address of this question. A working process, a metaphysical subject, law, emotion or ideal is appropriate, as I came to comprehend in the ideation period of module one. To take something purely natural and morph, bend and adapt it to serve a design function was entirely new.

Philip Ball gave fundamental evidence of the organic regularity in matter and everyday occurrences in his textual series, whilst preexisting drawing conventions for orthographic representation of articles were also introduced in the first module.

Nonetheless, I was captivated by the abstract notions purported within the Bauhaus school, specifically Kandinsky’s teachings (covered in reading by Clark Poling) [Figure 19.1] where TWODIMENSIONAL, LITERAL REPRESENTATION of items, intertwined with THEORETICAL concepts of tensions, allowed for MATERIAL REALISATION in a final PAINTED FORMAT. With this impression in mind, a clear connection between possible design rendition and real-world material fulfilment may be drawn, especially in a project like Earl Pinto’s ‘Anise’ decorative lighting (introduced in lecture four) [Figure 19.2]. Here, the design directly correlated to the materials chosen for its realisation, while the constraints/possibilities of European birch wood, as well as the spatial and directional limitations of the laser cutter, had an impact on the final representation.

Such a mutually dependent expression was patently manifested in the lantern project for Virtual Environments. From before the hypothesizing stages at the forefront of the design process, the brief’s requirement for a restricted array of materials in white or black cardboard informed the possible designs.

Additionally, a material insight for the freeform, organic shapes destined for the lantern may not have been forecasted without the aid of the Rhincerous 3D modelling software. The extensive capabilities of this DIGITAL REPRESENTATION in turn expanded the potential of the cardboard as a singular material, allowing for an elaborate, unconventional REALISATION of ANALOGUE ideas.

Figure 19.1 - Bella Ullmann Broner, Analyritcal Drawing Study, Excerpt from Kandinsky’s Teachings, Clark Poling.

Figure 19.2 - Earl Pinto, Anise Pendant lighting

+What are the learning outcomes of this subject and its relevance to your further studies and future? | General Reflection.

Foremost, I found Virtual Environments as enlightening me to the complex, consistent regularity that exists between nature and the built environment.

A new means of thinking was introduced to me and this was significant when paired with the task of deriving an abstracted concept from an organic process. The convergence of metaphysical notions with design conventions to produce relevant form allowed me to discern how context and background can directly inspire an representational outcome.

Besides these personal developments in the way of ideation, I found that the greatest bestowal from the subject was the vast and comprehensive submergence in digital design production/rendition. The knowledge of Rhinocerous 5 gained and the introduction to Nurbs technology was valuable considering the current state and direction of the architectural sphere today. I can visualise how digital practices inspire shape and elaborate patterns in current design, along with gathering the variation in analogue methods. Through exposure to the productions of higher architectural study at university, the benefits and crucial skills endowed through this subject are evidenced.

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M O D U L E F O U R: R E F L E C T I N G T H R O U G H R E S P O N S E S

Figure 20.1 - ‘To and Fro table’, Nex Architecture

+continued.

The process from digital execution to fabrication was also revealed, both in a mass, inventive context and via the relaying of established manufacturing techniques. Commencing design with the aid of the card/laser cutter greatly enhanced the quality of my product, communicating the contemporary orientation of the architectural sphere in regards to smaller scale model making - a task which will undoubtedly be tackled in future years.

Moreover, the importance of prototyping and the careful interconnections between materials, fabrication techniques and design representations was disseminated to me throughout modules three and four. This may be corroborated in the work of Paul Loh with London’s Nex Architecture to produce products like the ‘To and Fro table’ [Figure 20.1], where the production of such intricately featured wood relied on a number of these factors. Another exemplar was found in the ‘Georges Restaurant’ interior installation at the Pompidou centre in Paris by Jakob + Macfarlane (covered in Macfarlane’s reading, module three) [Figure 20.2]. As well as standing for the fruitful intersection between analogue and digital design, prototyping and material selection greatly shaped the final product.

In addition to the creation of an item from initial concepts to final product, the Virtual Environments subject also gave me an insight into presentation regulations for the architecture degree, which will resonate into my future in the field. Generating layouts and transmitting information in a coherent manner of visual communication goes hand in hand with producing realistic, usable design. Similar conventions are mirrored in both respects.

Figure 20.2 - Georges Restaurant, Pompidou Centre

The ability to reflect and analytically critique my own performance/ generated designs was, finally, an integral aspect of the course and any related project I may encounter in the future.

Although my personal exercise over the semester involved much reevaluation of form/direction, such operations led to triumph in my final model. Being able to identify intersections between virtual and analogue design frameworks, deduce abstracted outcomes from metaphysical subjects and rework them to eventual fabrication were the essential lessons put forward in the subject, which I can more confidently apply to my future architectural work.

VIRTUAL ENVIRONMENTS MODULE IV ENVS 10008 2012 SM1

REFLECTION WEEKS 10 - 12

Module Four - Reflection

Rovi Dean Lau

Student No: 543495 Semeter 1/2012 Group 8 Virtual Environments ENVS10008

The Sound Wave Experiment

No Sound, No Life!

At the start of this module, we were tasked to choose a natural process to work and develop for our Lantern project. What made me inspired to choose sound waves as my natural process was what I love to do, music. The love for beautiful sound in music is un-explanatory. The wonders about sound are that we cannot see them but we can hear and feel them. It creates this phenomenal feeling that one cannot explain but can feel it inside. Sound creates life, sense of freedom, sense of fear, sense of warmth, sadness and joy, light and dark. When there is no music, there is no life. It intrigues me that something you love cannot be seen.

In the reading of “The Man Who Loves Fluids�

by Philip Ball, talks about how Leonardo perceive nature and how animates his drawings of flow by capturing its fundamental forms and patterns. Going back to my natural process, perceiving what sound waves are and how I am going to animate the principle of it was my challenge.

Sketches of sound waves.

Chapter One: The Sound Wave Experiment

Research In science, it cannot explain what causes this phenomenal senses and feelings, however it could show us how sounds are made.

Principle of sound: Compression and Rarefaction (expansion) of molecules or particles in the air. It needs matter to travel.

Sound waves cannot travel through a vacuum.

Sound Waves Influencing Solids

and

Liquids

Top Sound Sculptures; created by sound vibrating the liquid on a surface.

Top Sound vibrating particles to form shapes. Each pitch or frequency creates unique patterns.

Bottom Concepts molded by infuences from patterns and sound waves, compression and rarefaction.

As I went on to do more research on sound waves and how sound waves can be seen, I stumbled upon interesting finds on how people use different types of matter to create sound sculptures.

From there, I used its form to mould and form my first concept on sound waves and how it would look like on a body.

Chapter One: The Sound Wave Experiment

Paper Folds

Top Paper folds replicating sound waves.

Mixed Used Development (In progress) Architects: B+U (Herwig Baumgarter & Scott Uriu) Area: LA, California

Looking through precedents and sketches, I tried looking into different materials and try to form how sound waves could be seen. Making different patterns out of paper. Trying to find the relationship between materials and sound waves.

Da Vinci Rotating Tower Architect: Dynamics Architect Group (David Kisher) Area: Dubai, UAE

Chapter One: The Sound Wave Experiment

Left Sketches of development from precedents and earlier research.

Sound Wave Concept From many developments, sketches and moulds, I finally formed a shape that best represents what sound waves are in a lantern form. Sending out the message to the audience what sound waves mean and how it feels. Sound is pure, yet it gives different emotions and senses to different people. Replicating that feeling into a form was my challenge and I believe that this form replicates that phenomenal feeling.

With its wavy like structure, fluid form and grabbing around the body gives that sound is part of us. Life would be empty without it.

Chapter One: The Sound Wave Experiment

Making Frankenstein

Imagination

to

Digizitation The challenge now was to replicate the form that I moulded out using plasticine into virtual space. I felt that it was important to keep the shape as much as possible because if the shape is an awkward shape, it may bring the wrong sense of message to the audience. Key things that it should be shown was the fluidity and the holes which shows that sound waves disperse.

At first I started out by mapping my first mould, however I figured out it was impossible for Rhino to loft 4 different individual curves at ones. That was the limitation I had to work around with.

So I made another mould, but this time it was a whole piece.

Mapped it and sliced it, managed to bring it into the virtual world. From there, I adjusted and manipulated the lofted surface to the desired shape.

Twisted the seam curve and using cage edit to keep the shape as close as the mould.

Top The process on how I put it into Rhino.

Chapter Two: Making Frankenstein

Top Twisted the seam curve to give me that desired shape.

Left The final outcome.

Concepts of Different Shapes These are the few concepts that I had. Trying out which concept best suits my natural process as sound waves. When the audience sees this shape or form, it has to have this random shape formed with the feeling of violence yet peaceful or harsh yet quietness.

Sound waves are not just about waves, different mediums give different kinds of waves.

If it is loud and harsh, there will be big sharp sound waves. If it is quiet and peaceful, there will be round and gentle waves.

Custom 3D Panel

3d Partition

Panel 3D Pyramid 2 + Offset Face Borders

Custom 3D + FinEdges CUstom 3D + Curve Attractor + Offset Face Borders

Chapter Two: Making Frankenstein

F i n d i n g T h e P i e c e s (P a r t 1) Thinking about sound waves, The Esplanade is a place for music and performances which relates to my natural process, sound waves.

On the roof, it has triangle panels to shield of the sun rays at a certain direction. It has that effect where it looks open from the front and closed from the side.

Analysing that pattern, I needed to show the audience how different sound waves are in a form of a lantern, solid form.

Once on the surface, I edited the points manually to create the effect of compression and rarefaction of sound waves. I did not use curve attractors or other forms because I wanted random length of triangles, giving a compressed - explosive random look.

Offsetting the face borders are for the lights to illuminate.

Chapter Two: Making Frankenstein

The Esplanade (Singapore) Architect: DP Architect (Singapore) & Michael Wilford & Partners, UK Completed in 2012

F i n d i n g T h e P i e c e s (P a r t 2)

The precedents gave me an idea on how I am going to create my twisted holes for my lantern.

Evolver Architect: Alice Studio (grop of students from Ecole polytechnique fĂŠdĂŠrale de lausanne) zermatt, switzerland Completed in 2010

Chapter Two: Making Frankenstein

Once I panelled my surface, I ungroup them and deleted the panels one by one, creating a space for the light to illuminate out as well as manipulating closely to my plasticine model.

This step was important in my design as we go back to my natural process and concept model. Because of Rhino’s limitations where I could not loft 4 individual pieces together, this method was the best way to resemble my natural process as sound waves. It represents the rarefaction of sound, dispersing randomly and fading away.

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

F i n d i n g T h e P i e c e s (P a r t 3) This precedent gave me an idea for material and lighting for my lantern. It was impossible for Rhino to prototype the light, so I had to improvise by constructing a pyramid shape and using LED lights.

At night, this pavilion has a light that goes along the walls of the building in a wave pattern. But what caught my attention was how the light was not striking but calm and relaxes.

This relates to my natural process in a way where sound is not always harsh. It can be soothing and relaxing as well.

To manipulate the effect, I placed the light behind a tracing paper which helps diffuse the harsh light and gives a soft light, creating a sense of peace and quietness. Letting the audience have that phenomenal sense the lantern is not harsh from the spikes yet having that comfort and peace in it.

Another unexpected find was that it helps the lantern to glow as well.

Chapter Two: Making Frankenstein

Top Prototype light effect of the triangle.

Final Design - Orthographic Views

Top

Front

Perspective

Right

I learnt that in digital form, there are limitations it can go compared to freehand drawing or sketching or plasticine. There is a positive benefit I would say about using 3D software to fabricate objects is that it has more accuracy and precision to the tenth and hundredth than any human. Another benefit is that we can see our object in 3D before it is made, enabling us to manipulate and edit, which gives use a good judgment about the design before making it. In the reading “Mathematics and the Sensible World� by Dahan, explains that mathematics and and the world influence each other. And also in our lecture, Henry Segerman also explains about how mathematics are all around us, and he shows us those obscure shapes which are actually formed by mathematics. This shows that within this 3D software, all of it is formed by mathematics. However, the mathematics in the 3D software could not create what my origial concept was but it influence me to push myself to work with the software and find an alternate way to create what sound waves meant.

Chapter Two: Making Frankenstein

IT’s ALIVE!

First Baby Step Before anything could fly, we must first learn how to crawl. I started by making a prototype of scale 1:3 with an A4 paper, 80gsm, of the head and the body.

I needed to know which way is the best to unroll and stick my surface probably so that it does not create an awkward mess which I do not intend to. I planned to unroll it in a way which still keeps the flow of the twisted structure. One constrain that I encountered was that it was difficult to stick sharp corners together. The other constrain was I did not want the audience to see where my tabs are when the lantern is illuminated. If it was seen, it would not create that calm peaceful sense of sound waves.

Outcome: Not good to unroll vertically due to the shape of the panels, giving it a hard time to stick sharp corners together.

Top Prototype of model - Scale (1:3) Material: White A4 paper 80gsm

Chapter Three: It’s ALIVE!

T a b s F r o m G r a s s h o pp e r Found a script for grasshopper which made things easier.

In order to manually edit tabs from grasshopper, I had to bake them first then explode it in Rhino.

This allowed me to deleted tabs that I do not need and resize individual tabs.

Once the tabs were created, I arranged my surfaces into the area of 900x600mm and were ready for cutting.

From this 1:1 prototype, I wanted to test out whether the paper cutter has its limits to cutting size as well as whether unrolling the surfaces in a twisted manner would work. This was important for the design as it hides the tabs when the lantern is illuminated.

Lastly, testing out the lights on the prototype.

Chapter Three: It’s ALIVE!

Labels

and

C o l o u r (H e a d )

After my first 1:3 prototype, I carried on with a full scale prototype. It makes more sense for me to do a full scale prototype due to its fragile triangular shape panels. Unrolled it in a twisted manner, mmistake laernt from my first prototype.

Head

Legend:

- Above

Chapter Three: It’s ALIVE!

- Below

Label

and

C o l o u r (B o d y )

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

Body

Legend:

- Above

Chapter Three: It’s ALIVE!

- Below

Label

and

C o l o u r (T a i l )

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

Tail

Legend:

- Above

Chapter Three: It’s ALIVE!

- Below

While making my prototype, I found a mistake. There were double tabs on the same side of the joint. So I resolved it by cutting it away and edit it on Rhino as I go along.

One limitation of Rhino was that it could not score the material on the other side. If you want to fold or bend the material upwards, we have to manually score it ourselves.

P r o t o t y p e S c a l e 1:1

Above Underscore the otherside of the paper to fold upwards to form triangles.

Trying out the lights in my prototype, found out that the panels does not give the lantern and the natural process justice. It does not show to the audiences the calm and peaceful sense of a sound wave. So I went to edit that panels and changed the materials for my final model.

Right Prototype scale 1:1

Chapter Three: It’s ALIVE!

Materials,

m a t e r i a l s , m a t e r i a l s ...

I tried using tracing paper, black paper or polypropylene for the effects on the body. Polypropylene was more rigid then tracing paper, however it was too clear.

It did not diffuse the light like how a paper lantern does.

Tracing Paper

Using tracing paper is not the only thing that will represent a soothing sound waves, the light plays a part as well. It is where the life of the sound wave comes alive. Creating from a harsh to soft lighting, I grouped a bunch of LEDs in a descending order, leaving the last light dim.

Black paper did not allow the light to pass through, so went back to the original idea, tracing paper.

The idea of using tracing paper was as close as I could get to what soothing, peaceful sound waves represents.

Black paper - 200gsm

Top Connected them in Parallel: - Shares the same voltage across all LEDs Chapter Three: It’s ALIVE!

I t ’ s ALIVE!

Chapter Three: It’s ALIVE!

Final Design

Chapter Three: It’s ALIVE!

From the first day when I first stepped into the room of Baldwin Spencer, uncertain of what I will learn except that it was something relating to virtual design. For the first few weeks, I did not know what was going on; it was still a blur to me despite having the grading rubric and readings that we have to read every week. To me, at first, it did not make any sense between the readings, lectures and what we were supposed to do, until the period between module two and three where I started to get hold of the module. It started to make sense once we had to create a virtual module and fabricate it. All the readings and lectures were meant to help us explore the impossibilities to possible outcomes, stretching one’s mind and ideas and explore and growth with the idea, our natural process.

In the reading “Replacing Space in the Digital Dialectic” and “New Genius of Place in E-Topia” by W. Mitchell, explains to us how the virtual world has evolved within a decade. When I was reading that, I thought of how our buildings have changed so much, from the impossible to the possible. For example, in the year 1966, the sci-fi movie series, Star Trek, shows all futuristic stuff, from sliding doors to laser guns. Another movie was Starwars (1977), showing off lasers and touch screen technology. In reality during those years, it was impossible but as years go by, we now have sliding doors at almost every convenient store, touch screen technology, as well as lasers. This reminded me that nothing is impossible in the world. Another obscure situation from a movie would be Terminators. It is about robots taking over the world and having the humans extinct. At this present day, most of us could not live without technology on us. Is technology taking over the world? May be and maybe not.

As for my future studies, I planned to be an architect and build structures which are out of this world, thanks to this virtual module. Giving me the opportunity to explore virtual world in designing first hand, at least now I know where I stand and using that knowledge to my advantage. Manipulating, editing and deleting, changing the idea without worrying, using that undo command, the world of designing has changed.

From the parade on Monday evening, it was an experience to view all different lanterns and no one in that vicinity has the same design. It opened up my mind to improve my lantern design if it was possible. Firstly making it bigger, gives it more shape and depth. Secondly, giving it a more distinct look, probably mixing it with black paper or other colours for the twisted body which represents sound wave.

Lastly, adjusting the lights to show more on what my lantern means and represents.

Now this module has come to an end and moving on to the next, but learning does not end, it will be a on going process, a life cycle.

Chapter Three: It’s ALIVE!

MODULE HELEN

FOUR

SULAIMAN

module4: design journal

Chapter One: Engender

1.1 inspiration

The first lecture looks at changing time and notions of patterns that come about in everyday life. It talks about shapes, forms and materials that appear out of seemingly fixed and 'intangible' conditions/ landscapes and how we could analyse this further to see the underlying meaning behind them.

What I found most interesting was how the nautilus shell follows a pattern – the 'Fibonacci' sequence- in its growing process. I found this fascinating because I've always thought natural objects were kind-of free, not systematic or mathematical in the way they grow.

virtual environments

This has brought me to think about other natural process and the reason why they are, the way they are. I soon found myself most intrigued by the process of water droplets: how they are naturally spherically shaped and how a solitary drop can create many different shapes so fast, it is invisible to the human eye.

module4: design journal

Chapter One: Engender

1.2 research

virtual environments

+ initial sketches

I began researching and analysing the process of water droplets to spark new unique ideas for a design concept. Through research, photograph and slow-motion video analysis, I came up with various ideas and initial sketches. However, although this was an insightful process, it gave little inspiration for a design concept. I found myself going back to the literal shape and form of the water droplets that were observed in the visual images/videos.

^ Initial sketches

< Design concepts (from left to right): Cascade Coalescence, Surface Tension, Natural Dew Drops, Cohesion and Adhesion

module4: design journal

Chapter One: Engender

1.3 experiments

When drawing the initial sketches, I tend to always base my designs on the basic, geometric form of water droplets. Desperate to come up with a more meaningful design, I decided to do a few experiments to better understand water behaviour and hopefully gain more inspiration for greater design ideas.

I did two separate experiments, each focused on a certain property of water, and tried to come up with a design that embodied the behaviour observed. *Experiment One: Adhesion and Cohesion In this experiment, I looked at the adhesive and cohesive property of water when it is in contact with another material.

virtual environments

*Experiment Two: Clustering and Converging In this experiment, I observed how two dissimilar types of liquids (namely water and oil) interact with each other

^mixture:

coloured water + oil

^Water on oiled cling wrap:

Cohesion force to itself is greater than adhesion force to plastic – thus water gather in circular shape.

^Water on normal cling wrap:

Cohesion force to itself is equal to adhesion force to plastic – thus water gather in an irregular shape

^Wood penetrated into water: Water does not only stick to itself but also to the wood.

This is adhesion as the attraction is to a different material.

^droplets:

converging→converged

^Drop of food dye in water (images left to right):

MilkyWay-like pattern → basic pattern outline → exaggerated & abstracted pattern (could be used as panelling)

module4: design journal

Chapter One: Engender

1.4 developments

virtual environments

In the development process, I tried to create various design concepts that could embody the information I obtained previously from the experiments. *Experiment 1: Clustering and Converging Firstly, I decided to make a step-by-step diagram of what I have observed. From this, I thought the most interesting and significant stage was when the droplets cluster together and converge. Using clay models, I tried to recreate that scene by bundling up individual pieces of â&#x20AC;&#x153;dropletsâ&#x20AC;? and seeing what shapes I could come up with. However, I was unsatisfied with the design outcome because it was too complicated and had too many surface area which would be difficult to panel and fabricate.

^Sketches: Converging droplets

^Diagram: Two water droplets converging

^Clay model: Clustering

module4: design journal

Chapter One: Engender

1.4 developments

virtual environments

<continued>

*Experiment 2: Adhesion and Cohesion From the experiment, I learnt that when water interacts with another matter, it tends to form an irregular shape.

Therefore, when I was making my model, I made sure that it was asymmetrical (as 'water' is interacting with the 'body'). Another 'rule' that I wanted to implement in my design was that it had to follow the flow of the body line, to emphasize the idea of adhesion.

COHESION: “Water molecules” sticking together, forming droplets ●

●

ADHESION:

Water body

^Initial sketches ^Water 'adhering' to body: An idea I wanted to implement in my design

adhering

to

^Diagram of water dripping from tap: Wanted to incorporate 'necking stage' in my design to portray surface tension.

module4: design journal

Chapter One: Engender

1.5 the concept

virtual environments

module4: design journal

Chapter Two: Digitise

2.1 digitisation

virtual environments

The lofting process was a difficult and time consuming one, especially because I had 24 sections and the overall flow of my model was quite curvy. The initial result was extremely 'blobby' and messy so I decided to redo my model. I rebuilt the surface by taking out a few sections and replacing a few with regular circles. Also, because the back (neck) part is symmetrical, I used the 'mirror' tool for that area only. As this model is going to be worn by me, I compared the wood mannequin's body against mine and found a scale difference of 1:8. ^Lofted Sections

^Re-building Process (Left to Right):

Used 'mirror tool' to create symmetrical 'neck' part â&#x2020;&#x2019; replaced few sections with regular circles â&#x2020;&#x2019; newly lofted surface

module4: design journal

Chapter Two: Digitise

2.2 panelling

These are the panelling trials I did with 2D and 3D panels. From this exercise, I found that the triangular panels suited my model best as it provided a sense of direction and could portray movement of water down the body. Also I grew a liking towards the idea of sharp, pointy panels because it kind-of looks like little water splashes (as what would happen when water hits body).

virtual environments

module4: design journal

Chapter Two: Digitise

2.3 elaboration I was inspired by the Space-Frame installation (by Davide Del Giudice and Andrea Graziano) as the structure was very similar to what I wanted to achieve with my model.

Firstly, it had the 3D triangular panelling that could show direction and portray flow of water and

^Space-Frame installation

secondly, I particularly liked how the triangular holes were gradually increasing in size as you go from the bottom to the top of the installation. I thought I could incorporate a similar idea with my model as it is relevant to my natural process.

virtual environments

The gradation in light intensity (due to the triangular holes) can act as the amount of water molecules. I thought of having the greatest light intensity at the ends of my model as that is the heaviest part of the droplet (due to gravitational force acting on it).

module4: design journal

Chapter Two: Digitise

2.3 elaboration

Initially this was the design outcome I have achieved, however, after further analysis I found quite a few problems with the panelling: â&#x2014;? Each panel are separate individual prisms. So If I was to continue with this design, I would have to create ribs first â&#x20AC;&#x201C; which would be difficult (not to mention time consuming) considering my model is quite curvy â&#x2014;?Also I realised the overall look turned out to be quite aggressive and bulky. Instead, I wanted a soft, delicate and flowy appearance that would be more suited to my natural process.

virtual environments

<continued> I decided to rebuild my panels by firstly eliminating the bottom half and replacing it with 2D triangular panelling.

This was so the model will look like it is 'adhering' to the body. Secondly, to lessen the aggressiveness of the design, I reduced the overall height of the pyramids and also used curve attractors to create gradation.

^Final design outcome <Initial design outcome

module4: design journal

Chapter One: Engender

2.4 final model

virtual environments

module4: design journal

Chapter Three: Fabricate

3.1 unfolding Each strip was unfolded one by one from one end of the geometric flow to the other. A different colour was assigned to each piece for easier fabrication later on. Tabs were created using Grasshopper for efficiency and accuracy.

virtual environments

module4: design journal

Chapter Three: Fabricate

virtual environments

3.2 nesting and labelling The unfolded strips were numbered consecutively from 1 to 29 and arranged inside a rectangle of A1 size. These were then saved as PDF files then printed at Officeworks.

module4: design journal

Chapter Three: Fabricate

3.3 prototyping

A sectional prototype was made using 80gsm printing paper. It was very easy to fold but was extremely delicate and will not be able to self-support. The section part I made was the neck part area to determine whether the model would be able to fit around my neck.

virtual environments

module4: design journal

Chapter Three: Fabricate

virtual environments

3.4 manually constructing Firstly, I chose to use 200gsm paper because it was not too difficult to fold and manipulate and was also sturdy enough to stand by itself.

Next, I cut out each strip and then using a cutter, just slightly draw over every line for easy and neat folding.

Afterwards I created holes on two particular faces for every strip so that when the model is assembled, the holes will create one continuous pattern. The holes are then covered with tracing paper to create a kindof warm glow.

module4: design journal

Chapter Three: Fabricate

3.5 lighting effects

virtual environments

I experimented with colour lightings by covering each LED lights with coloured cellophane.

^Pink:

Vibrant, eye catching colour.

However, it is maybe bit too playful(?) I preferred a more sleek and elegant look.

^Yellow:

^Blue:

^White:

Dull and unattractive. Also doesn't really go with my water droplet concept

Vibrant and striking colour without looking too playful.

It is very sleek and of course, blue would go well with my water concept.

Neutral colour. Accentuates the simplicity and elegance of the design.

The Final Final Model Model The

module4: design journal

Chapter Four: Reflection

4.1 design process At the start of module 1, I faced a lot of confusion and it was very difficult to break off from the literal concept of a droplet. However, through the tutors help, I have gained a better understanding of ways to think outside the box. Researching about my natural process was helpful but the photographs and videos did not provide much inspiration as they only offered forms and shapes. I thought the experiments I did were the main drive behind the final design I came up with. From the experiments, I created several diagrams and came up with various sketches and soon came up with a final outcome I was satisfied with.

The design method I undertook was quite similar to that of Frank Gehry's Disney Concert Hall, where the inspiration behind his design was actually crumpled pieces of paper.

From this, Gehry created abstract sketches and did comprehensive prototypes.

^Initial Sketches

virtual environments

^Prototypes

<Disney Concert Hall Building

module4: design journal

Chapter Four: Reflection

4.2 virtual environments Virtual Environments has taught me various different things. It is interesting to experience and see my and other student's progression week by week. This subject has taught me to think outside the box when coming up with a design, instead of just taking the obvious literal shape and form of an idea. Also, it is fascinating to see how each design process can influence and change the shape of my initial design.

At first, it was very hard to get used to Rhinoceros, but once I got used to the function, It was actually quite an enjoyable experience. However, as there were time constraints, I could not utilise Rhino to its full potential and had trouble precisely transferring my original idea to digital media without modifying few parts.

Overall, the study of Virtual Environments has been an illuminating and valuable experience. Even though I am planning to major in civil engineering in the future, the knowledge and skill learnt throughout the design process will definitely be beneficial in one way or another. Civil engineers work closely with architects and they are the ones responsible for making the design a reality. If a design is unworkable, they could propose certain modifications to the design. Therefore it is essential to have at least the basic understanding of the aesthetic side of the process.

virtual environments

Mechanical Turbulence

Virtual Environments: Semester 1, 2012 Final Presentation: Module 4 Student Name: Jasmin Laurance Student Number: 583084 Tutor: Loren Adams

Inspiration strikes: Cloud formations

Patterns and shapes emerge, and are often repeated, within various forms in nature. Whilst some give the impression of randomness, and others the sense of perfection, there is an underlying mathematical basis to their development, complexity and beauty which can be investigated.

Investigating the underlying processes: From clouds to mechanical turbulence

Mechanical turbulence:

A cloud forming process whereby ground level level air flow encounters obstacles such as mountains, stands of trees, or buildings.

It closely follows the contours of the land, rushes up the side of the obstacle and spills over the crest.

At this point, some air escapes the system and interacts with existing air streams to form eddies and swirls, whilst the remainder continues down the contour of the lee side of the obstacle.

Drawing upon Da Vinci's exhaustive explorations of water, as detailed in 'The Man Who Loved Fluids', the natural processes which form clouds were explored and the underlying process of mechanical turbulence was discovered and selected as the basis for the lantern.

Sampling the environment & identifying key elements: Representations of mechanical turbulence

Sound: Areas of heightened activity

Sculpture: Interaction with invisible force

Mathematical representation: Chaotic

Vector model: Wind direction & smooth form indicated by vectors Art installation: Weightlessness

Literal representation: Contour hugging

There are numerous methods of sampling the environment, gathering data and rendering findings. Representations of the sound, speed, direction, form and underlying mathematical elements of mechanical turbulence were explored with a view to illuminating the key components of the natural process and the ways in which these can be effectively communicated.

Abstraction through sketches

* The final abstraction: The ultimate form not only represents the process, but also highlights the relationship that exists between it and the original inspiration of cloud formations.

Inspired by Kandinsky's process of simplification and abstraction, as highlighted in his teachings at the Bauhaus and illustrated in the curved line to the left which represents a dancer, the natural process of mechanical turbulence was examined in a succession of iterations. Complex interactions were drawn out, then progressively simplified and reduced to an all encompassing form.

Abstraction through modelling

* The final model: Key elements are incorporated within the shape of the model which has an overall resemblance to the abstracted sketch. The natural process as a whole interacts with the human form by pushing the head forward and to the side.

The sketched abstraction and identified key elements were used to inform shape and detailing in a succession of model iterations.

Digitization of the model

* The final model: During digitization key elements of the natural process were exaggerated for clarity. The increased height above the shoulder and head represent greater airflow activity in response to these obstacles.

Areas remaining closely contoured to the body indicate speed and lack of obstacles to airflow. The extension at the front of the head represents the continuation of the process into the unknown.

Digitization is the first step towards fabrication as it utilises a common language with which exacting details can be communicated. The clay model was recreated in plastercine, cut into sections, then imported, traced, aligned and lofted in Rhino.

Sampling the environment & identifying key elements: Architectural precedents interacting with airflow

National Assembly For Wales, 2005.

Architect: Richard Rogers.

Observation: Flat, blunt ended shapes imply heavy, slow moving airflow.

Walt Disney Concert Hall, LA, 2003.

Architect: Frank O. Gehry Observation: Low level angular shapes imply curving, horizontal airflow.

Vitra Fire Station, Weil Am Rhein, 1994. Architect: Zaha Hadid Observation: Sharply pointed, angular shapes imply speed & uplifting of airflow.

Buildings, like mountains, act as obstacles to airflow, and their shapes have a measurable impact upon the way in which air is deflected and distorted as it moves over and around the structure. This interaction was explored with particular attention being paid to structures which are designed in a way which seems to play with or purposely embrace this relationship. The resultant impression of air speed, direction and deflection was utilised to further inform the shape of the lantern.

Panelling to enhance representation of the natural process

* The final digitized model

The use of vectors and sharp, angular shapes were incorporated through panelling.

Lighting to enhance representation of the natural process

* Main image: Prototype to test lighting effect of perforations positioned beneath 'vectors'.

Inset image: Lighting precedent 'The Artichoke'

Lighting options were investigated with a view to further enhancing the representation of the natural process by symbolising airflow, particularly in areas of heightened activity where a portion escapes the system. Direction had to be carefully controlled, as illustrated by the 'Artichoke' light above, therefore positioning perforations directly underneath the 'vectors' of the panels was ideal.

Stripping & unrolling the digitized model

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To facilitate fabrication, the digitized model was divided into upper & lower halves. Strips were created, coloured and numbered to ensure ease of recreation when cut into card. As shown on the left, the strips were unrolled in Rhino and tabs and trim lines for the perforations were added individually.

Creation of templates

Small strips were positioned onto A4 sized templates in Rhino, and a numbered grid of overlapping A4 templates was created to accommodate larger strips.

Fabricating the model

* Partially fabricated model: Internal view of upper side looking towards the tail of the model.

200 gram, 300gram and 1mm card were tested to find the optimal combination of strength & flexibility. The A4 templates were printed and aligned, then the strips were cut out, positioned and taped to 300 gram ivory card. Using a craft knife, each strip was cut and perforations were made.

Moving from the nose to the tail of the upper side, the tabs of adjoining strips were glued and secured with clips whilst drying. The underside strips were then attached to each other and the upper side working inwards from the nose and tail to the midpoint.

Lighting the model

A series of bright LED lights were created and white insulation tape was used for camouflage against the white card of the model. A disc of 300 gram white card was positioned at the front of the globe to reduce the spotlight effect, and the globe was then wrapped in white insulation tape to aid diffusion. The lights were secured to tabs on the upper side of the model, and the battery pack was placed into a custom made card box before being glued on the inside of the model ensuring that only the on/off switch was visible.

Completed Lantern

The lantern successfully represents the natural process of mechanical turbulence. The form represents the system in it's entirety, increasing and decreasing in height as activity builds above the shoulder and head, as it would when encountering an obstacle in the natural environment such as a mountain. The smooth underside of the lantern closely follows the contours of the human form just as air flows along the surface of the earth. Air, represented by light, escapes the system at the crest of obstacles. The force of the process acts upon the human form by physically pushing it forwards, and continues on past the the point of visible interaction with the body.

Key elements & precedents: Analysis of design as representation of mechanical turbulence

Interaction with invisible force & weightlessness

Areas of heightened activity

Sharply pointed, angular shapes imply speed & uplifting of airflow.

Chaotic

Using form to direct & diffuse light

Wind direction & smooth form indicated by vectors

Contour hugging

Analysis of Theory & Practice There are many ways to sample to the environment, and with every person bringing their own circumstances to the task of interpretation, there is no right or wrong method or answer. Some view nature, and all it's inherent patterns and forms, as evidence of a God's handiwork, whilst others marvel at the complexity created through natural selection and evolution. Regardless of these extremely different viewpoints, the commonly felt awe and inspiration remains. And, when these feelings prompt one to look beneath the surface of the shapes and forms which surround us all, it is impossible to deny the underlying mathematical structure which emerges everywhere and is replicated across seemingly unrelated natural forms and processes, including us and our behaviour. In addition, the complexity which amazes us so, builds over time in an environment which supports such outcomes. Data can be extruded and patterns can be identified whether looking at growth rate of shells, the formation of bee hives, the flow of water, the movement of air, the ebbs and flows of traffic over the course of a day, the transferral of songlines across a continent, or the passage of people across the the world. Data is not the be all and end all however, it takes a considered approach to draw out what is meaningful and, once again, what one person considers to be meaningful will be different to the next. Da Vinci, for example, conducted exhaustive studies of the flow of water to inform his drawings and inject a reality that some believed was ultimately so successful in appearing real that it became surreal. Turbulence is still being studied today, but for entirely different, non artistic reasons. The end of one person's search can be merely the beginning of another's.

Once information has been gathered, it can provide a starting point to the design process and be abstracted in numerous ways depending upon which factors are considered to be important. Creative methods including sketching, modelling and photography, to name but a few, can be utilised to emphasise, simplify, or perhaps highlight one particular aspect of those underlying patterns which have been discovered. This can also assist the designer in clarifying key elements they wish to represent in their artwork, or even in the building which they are designing, and maintaining that focus throughout the remainder of the design process. When designing the 'Klein Bottle' and 'Cloud' houses, which were inspired by the forms for which they are named, Melbourne architect Robert McBride used this method of abstraction. In both cases, he challenged himself to remove as many elements of those original forms as possible, whilst still retaining the underlying impression of the originating form. Similarly, when designing a pavilion for the Chelsea Flower Show architect Paul Loh investigated the form and patterns of leaves, incorporated these into the design, and constantly referred back to his original findings to ensure that the desired 'leafiness' remained in all iterations of the design. Other architects, such as the renowned Zaha Hadid, often start from an even more abstract position, by painting a representation of the form or natural process which she wishes to capture and inject into a project.

These differences in assigning importance to information gathered, and representing one's findings, depend upon many factors including the personal opinions and attitudes inherent to the designer, their intentions and purpose, and their intended audience.

Orthographic drawings can be used to convey exacting details from every viewpoint, and are extremely useful in fields such as architecture or product design where the intention is to construct an object, or provide a clear picture and a context of something that as yet does not exist. By contrast, this is far removed from the methods employed by the artist Kandinsky, who very much followed the 'less is more' rule of thumb, removing all detail from his drawings which he considered to be a distraction. Ultimately, his designs were whittled down to a series of lines, curves and dots which one would find extremely difficult to recognise as any

particular object unless informed of the subject. These examples illustrate the extreme possibilities of representation, the literal and the abstract, but there are many shades of grey in between which engage the viewer in different ways and to different degrees.

In the built environment, digitization has become the universal language used to communicate one's designs within the industry and between integral related professions. Prior to commonly used design programs being adopted, architects relied heavily upon hand drawing, modelling and verbal communication. Given that we are surrounded by innumerable examples of stunning, intricately detailed old buildings, one can hardly proclaim this method to have been ineffectual, however it was certainly more time consuming, costly, and prone to misunderstandings between the architect and those responsible for construction. Even when computers became a common item in the offices of architects, engineers and builders, seamless communication between the industries was thwarted by the fact that each operated different systems and work had to be translated from one platform to another. There was also a certain reluctance by some architects, as confessed by Frank Gehry himself, to move away from the traditions of hand drawing and modelling their designs. It seems, however, that once common design platforms were adopted the benefits flowed through quickly as architects realised that they were able to represent even the most complex and minute details of their designs directly to those responsible for building them and, in addition, this opened up more opportunities for collaboration between professions both within and outside the architecture industry. Another important benefit which emerged was the ability to accurately portray a design to the client, including it's materiality, be it via a computer screen or in a perfect, miniaturised model.

An interesting consequence to consider is how this move towards digitization, and the subsequent increased ease of fabrication and construction is enables, effects and perhaps forever changes the role of the architect. Given that anyone can learn to use the software utilised by architects, and most related industries already do, what does the architect bring to the table nowadays? Is the software designer or mathematical whizz better positioned to be the artist or architect of the future because they possess the skills to push the software to it's limits? When one see's the beautiful, complex products and designs that can can generated from inputting and manipulating algorithms, it's difficult to to think of them as anything other than pieces of art. It seems that it is no longer enough for the architect to simply design a house or a building. They have to inject something else, something special, to stand out from the crowd and make their involvement relevant in the least, or ideally, essential at best. This may be one reason why we see a seemingly constant pushing of technological boundaries in many building designs at present, with new materials and methods of construction being employed to make roofs and bridges span greater distances, or buildings contort themselves into never before seen shapes. In addition, it appears to also be common practice to involve industries that one wouldn't normally associate with the architectural and building practices, be it artists or boat builders with specialised knowledge of fibreglass for example. This may be due to both the ease of communicating specific requirements across industries thanks to digitisation, and the push towards incorporating new technologies into building designs. Rather than rendering the architect irrelevant, these developments may in fact enhance the role, or in the least distinguish the good architect from the bad, as their true artistic and inventive designing abilities come to the fore and separate them from those who can simply manipulate the software. One could argue that an an architect who successfully combines these skills with an interest and knowledge in scientific, mathematical and technological advancements would be well positioned to take full advantage of the changing times. Meanwhile, designing of suburban homes and less prestigious projects could fall more towards the skillset of the draftsman or the enthusiastic layperson.

Reflection I can't overstate the impact that Virtual Environments has had upon my approach to designing, my confidence in designing, and my response to other's designs. Previously, I felt at the mercy of inspiration. I never knew when it would strike and couldn't call upon it at will. When it did present itself, it would do so as a complete picture or a finished design that so often I felt I couldn't actually replicate. Or, I would embark upon creating my vision, but with no rhyme or reason to fall back on, found it difficult to make key decisions beyond the superficial 'this looks good' or 'that doesn't look good'. As a consequence, my designs often lacked depth and integrity and couldn't be explained or justified to others. This removed a key player from the process: the viewer. There was nothing for them to interact with or interpret, and any attempts to do so were fairly redundant because there truly was nothing beneath the surface to be uncovered or understood. In a way, it also removed me from the process because my imagination had simply created a 'perfect' finished product that I then had the impossible task of realising, I didn't leave myself any room error or deviation, which meant the joy of exploration and experimentation was also removed. Despite this haphazard relationship with creativity and design, I knew that I wanted to pursue a career in architecture where my passion for design and practicality, as strange a passion as that may sound, could come together. However, I harboured a sincere, underlying fear that I wouldn't be able to design to deadlines or communicate the meaning or intentions of my designs. In addition, my own strange method of designing made me quite cynical of other's 'long winded' descriptions and justifications of what their designs or artwork represented, and I was extremely reluctant to look at other's work in case it impacted my own too strongly.

By the end of the first week I had already decided to base my project upon clouds and could see the finished lantern in my mind. I was on track to repeat the exact same mistakes I'd always made when designing. However, everything changed for me when I read 'The Man Who Loved Fluids'. Da Vinci's in depth exploration of water and subsequent renderings really inspired me to look beneath the surface of clouds, to relinquish control, and let this new method of designing light the way into the unknown. It really took me out of my comfort zone, but was so rewarding. This exploration led me to discover the natural process of mechanical turbulence where I uncovered things that were much more exciting and interesting. The act of investigating this natural process, teasing out it's key features, and using them to create a checklist of sorts gave me tools to make all subsequent design decisions. I imagined that having a list of key features which I was required to represent would add pressure and restrict my creativity, but it actually had the opposite effect. Whenever important decisions had to be made, such as the shape of the model, it's interaction with the the human form, the use of panelling, and the integration of lighting, the question was simple: 'Does this say something important about my natural process, or does it distract from it?' On many occasions, the option chosen was not the one that I found most aesthetically pleasing, or even the one which had involved the most work, but it was always the one which remained true to my natural process and the factors I'd initially determined to be important. I found this method to be fun and freeing because I never knew where it would lead me or what the next iteration of my model would look like. Throughout this process I have discovered that there's something quite wonderful about being surprised by your own work and creating something that you didn't know you had in you.

The confidence I feel in my own design abilities has improved significantly thanks to the skills I have learnt in Virtual Designs. I know that there's a method I can rely upon to create interesting, meaningful designs which actually have an underlying intention and integrity which can be successfully communicated to others. And, rather than waiting for inspiration to strike, I know that I can look

for and find it all around me, especially as my eyes have been opened to the many different ways in which things can be seen and sampled. I'm no longer scared about venturing into my desired profession, architecture, and being incapable of designing to deadlines or communicating my ideas and intentions. Instead, I feel confident that there is an endless array of designs within me which I'll be able access by using the methods I've learnt this semester. As a result, I feel even more certain that this is the career I want to pursue and that I'll love it!

My approach to other's work has also changed dramatically, and I think I am a kinder, more involved, viewer as a result. I still have strong opinions about what I like and don't like, but my reactions are more considered and less superficial than they have been in the past. I really found this to be the case when watching the parade of other student's lanterns. There were some that I immediately loved because they were beautiful, delicate, intricate, or had a 'wow' factor. But, rather than simply dismissing or criticising the others that didn't immediately grab me, I realised that they too may actually be brilliant, perfectly sized and shaped representations of whatever natural process they were representing. I wish they had had the opportunity to inform the audience of the underlying natural processes, because it felt rather unfair and superficial to judge them without that information. Coming from a person who used to roll her eyes when a seemingly tenuous link was made between a piece of art and the artist's intentions, this is quite the 180 degree turn around. I can also see the value in other's work when used as precedents to inform or inspire my own, and no longer worry that it'll be seen as 'copying'. I found that wherever I drew upon precedents it was not the actual shape or some real and specific detail which made it's way into my design, it was the feeling or the way I saw something interacting with that work which I sought to replicate. As a result, nothing was ever directly copied, but hopefully something a little more elusive like the impression of speed, direction or weightlessness was harnessed. This is yet another avenue which has been opened to me through completing this subject, and another source of inspiration that I know I'll be able to utilise in my future studies and career as an architect.

The importance of fun and play in design has been a recurring theme throughout this semester and, whilst I have always put drawing, painting, sculpting and other hands-on work, including the fabrication of my model, into this category, it has prompted me to address my sometimes strained relationship with technology. Being able to communicate my design ideas in a way in which others can understand will be of vital importance in my future career as it will enable collaboration with other architects and industry related professionals, as well as fabrication and construction. Virtual Environments not only introduced software that allows for digitization of my designs, but made me realise that it's in my best interests to embrace it and continue to play and learn in my own time. Therefore, despite how frustrating and time consuming this learning curve has been at times, and regardless of whether Rhino features in the next subjects I undertake, I'm determined to continue using and learning it. My aim is to reach a point where it truly becomes a fun tool which I can use to it's full capabilities when expressing my designs. Equally, I have learnt that it is essential to present my ideas and designs in a professional manner which is beautiful to look at, clear, concise and easy to follow. Much like using key words to keep my design on track, I have developed the habit of constantly asking myself 'Does the viewer/ reader need to know or see this? Does it support or explain my design process and intentions in an important way, or is it irrelevant to the final design and, therefore, just a distraction?'. Therefore, in addition to learning how to design, I have discovered that it is also important to learn skills relating to photography, drawing, and graphic design to ensure that my designs are put forward in the best light possible. These skills, once developed, will be of great use in both my studies and future work as as architect, especially when pitching for projects.

MODULE FOUR KATRINA BARNES - 582712 SEMESTER 1/2012 - GROUP 9

IDEATION: EXPLORING CONCEPTS

I started facing the endless creative possibilities that the brief led to, there where few boundaries that I had to consider. I started with the concept of gravity though as I started to consider the process even with basic line drawings I found any ideas I came up with were convoluted and would ultimately be unsuccessful so I then went on to review my brainstorm and look for a similar process that had an underlying process I could explore.

From here I began to look into tectonic plate movement, I started to look at qualities and ways of recreating the process, as to gain further understanding. My findings were that tectonic plate movement caused by gravity creates some key features in the landscape. The type of movement I wanted to look at occurs at the San Andreas Fault line and is called a Transform boundary.

This is a shearing force as illustrated.

Initial brainstorm and sketches of gravity concept

Diagram of location and the tectonic plate movement at the San Andreas fault line

Illustration of the transform boundry

San Andreas fault line

Use of paper to recreate the transform boundry

IDEATION: REASEARCH AND PRECEDENTS

ABOVE: Experimentaion with paper; BELOW: Images from Mimicry

by Ducroz; RIGHT: Picture of sunset rocks at the San Andreas

While at the start I felt my ideas where very limited by the final product, that this had to become a lantern and had to somehow illuminate a space. Once I started moving away from this and purely trying to represent processes in an abstract from I found much more freedom in my ideas. I found that the use of precedents that werenâ&#x20AC;&#x2122;t related to lanterns very helpful here, I found the MIMICRY Installation by Benjamin Ducroz especially helpful in that I it allowed my to focus closely on and aspect or element that I strongly liked, here it was the singular shape used at varying angles which effectively contrasts and gave me the idea to combine multiple forms to create my installation.

Also I found experimentation with paper helpful, as Bharat referenced in a lecture I tried to create something with similar level of detail, or seemingly so when looking from different distances. Then I felt it quite resembled a mountain range in form and complexity as a pile of rocks and pebbles can look almost similar as certain angle of a mountain.

IDEATION: SUNSET ROCKS ABSTRACTION The sunset rocks abstraction much more successful than most of the others because I immediately saw how it could become a lantern and how it would have the ability to throw interesting shadows. Other abstractions were mainly unsuccessful as I felt they were more exploring the concept and idea of the process when in reality maybe more focus was needed on generating forms from them. Though with the sunset rock formation the main idea was immediately apparent. It is the perfect example of what I needed to explain to the viewer about my process the key factors being, an interaction between items, a hint at aggression or brutality for the sheer force of the movement and a twisting effect that isnâ&#x20AC;&#x2122;t overly dramatic. Though I felt this concept was the best yet to cover these bases the latter requirement wasnâ&#x20AC;&#x2122;t clearly defined enough so I decided to continue with exploration with twisting.

The Sunset Rocks Formation at the San Andreas Fault Line and personal abstractions

IDEATION: GENERATING 3D FORM

In this module I tried to push myself by experimenting with various materials, although personally I always start with drawing I found use of 3D Martials really helped my understanding or concept of my model and helped express what was an important element to explain my process. This helped me define the hierarchy of my design, which helped in later work when I had opportunities to enhance certain elements of my design such as the twisting aspect or the interaction of multiple forms.

From these experimentations I found the most succsessful was the orriginal prism with an almost elegant twisting effect.

IDEATION: FINAL CONCEPT MODEL

I felt this was the most successful iteration as tectonic plate movement isn’t instantaneous, it’s a slow movement over time and while is cause the surface of the earth to twist and break, it doesn’t necessarily cause destruction like something like an earthquake.

This design shows this slow force in the twists in each individual form, the gathering of the three forms shows the interaction between plates and the triangular prism shape shows the angular and slightly destructive nature that this process can be associated with. Though the iteration is less successful with the aggression or enormity as the model almost looks quite delicate.

With further exploration and the use of panelling I can look editing the form to become possibly a bit more aggressive or more complex.

DESIGN: DIGITISATION

When it came to digitalization I was confused and intimidated to say the least. Hours of tutorials and preparation still weren’t able to give me the expertise I longed for when working with Rhino 5.0, though after many problems I did come up with a successful lantern.

Firstly to compute my clay model I sliced up my clay model and measuring center points and the angle to place the slices carefully, especially as I wrecked one of the three pieces, which in the end may’ve been for the better. After I traced and aligned the shapes I was able to use the loft command to create a surface. Next I considered how many surface points to use as can be seen along the bottom row, this is a perfect example of the design philosophy ‘less is more’, mainly as the smother the surface the easier to panel.

DESIGN: 2D AND 3D PANNELLING

Next came the hardship that is paneling, for me this stage came with many technical difficulties which to this day I still cant understand, this affected my range of panel iterations as I was shorter on time though from the beginning I knew the direction I was heading. I played around with the preset 2D and 3D panels though I knew I wanted a panel that reflected light towards the models counterpart and my mind just could not get past the idea of triangles. Though I considered 2D paneling with cutouts I was unable to put my idea into action through my lack of technical skills. Though also this approach may not have been as successful as the aggressive or brutal quality that I was hoping my paneling could bring to the lantern wouldnâ&#x20AC;&#x2122;t have been properly addressed.

DESIGN: PANELS AND LIGHTING

As I got a better understanding of paneling tools I decided to revisit my most relevant precedent so far, the sunset rock formation. I found I wanted a similar look to the simple triangle that I easily created out of paper.

I found having a flat edge that would create the bottom of the panel much easier hence my first iteration. This idea was largely unsuccessful, as it didnâ&#x20AC;&#x2122;t address any of the qualities I was hoping for it to. So after a few quick trials of making random shapes I found my final panel, which was a quick process, until I realized the entire object was practically in layer with no way of connecting one to the other. So I printed off two panels and decided that a simple triangle would help, as it would be a regular occurrence that would simply help reflect the light around my model and accentuate the twist in it.

First panel concept

The Sunset Rocks Abstraction

Final panels in rhino Prototype panels to experiment with lighting and joins

Also I looked at how lighting interacted with my panels and felt they were successful in that they allowed light to shine through and reflect in the direction of the opening which I felt could be very useful as I could try to reflect light between the models, accentuating the interaction between them.

DESIGN: WAIT A SECOND, HOW DID I GET HERE? This is where my model truly came together first I started experimenting with multiple shapes and I just could not get three forms to intertwine or look in anyway connected so instead I decided to simply use two and using twist and scale commands I created the two opposing forms. I felt this would be easier and more appropriate as the light would be easier to aim and there would be less construction involved. When applying my paneling I found again that less panels were more effective in adding a fierce quality to the model.

FABRICATION: UNROLLING

When it came to unrolling my model I found the most appropriate way was to select all the panels around one layer or circumference as they unrolled with the least overlaps. I then numbered each layer starting from 1 at the bottom to 9 at the peak with numbers going portrait for one form and landscape for the other. When creating this model you simply fold up each row then attach it with the adjacent triangles to the row below, matching where the panels fit or the pattern of the panels below.

FABRICATION: PROTOTYPE

When creating the model in rhino I didn’t consider the real world implications of my chosen iteration. I chose to use paneling that at the time I thought would be quite simple but then continued to warp the panels in such a way that rhino had to curve the panels individual faces.

By tracing these panels I thought I’d fixed the problem and while it was possible to build, it wasn’t easy. The pressure put on many of the joints proved too much for some joints while others simply did not connect. I would firstly strongly consider bigger tabs thought this was at the detriment of the appearance of the structure as when backlight you could see the tabs. While this way of physical creation may not have been the most desirable in terms of appearance it was the most successful when considering structure as the tabs are regular although they are visible, the hold the structure together adequately.

FABRICATION: FINAL MODEL

I found physical constraints with the ability of materials, while the card I used was appropriate and looked the perfect thickness it was a bit too weak at points where score lines converged and with the combination of pressure the card did occasionally tear. Also I found your average PVA craft glue didnâ&#x20AC;&#x2122;t work for many of the smaller tabs, and double sided sticky tape was a temporary option so I have to used super glue, which is an cyanoacrylate, hence the glue dries with the absence of air, so as you push two pieces together id rdies almost instantly. I found the use of this was very helpful and speed up the process greatly though it had its drawbacks as it could be messy at times and highly painful if your finger stuck to the model.

FABRICATION: LIGHTING EFFECTS

Lighting solution Lighting flat on ground

Lighting at an angel

For the lighting I considered using individual led lights though found as you could see straight into my lantern, it just looked terrible. So I purchased some LED push lights, often used for cupboards as they worked well to do the job and gave a spotlight effect. I tried a few positions with these to find that most looked very much the same as when you jus place the light in the middle of the structure facing upwards. Though when I angled the lights I found all the elements of my model were brought together. The focus of the eye was on this interaction of light being reflected off the opposite structure. The points in the middle were highlighted and exaggerated. From anyone direction you can see a striking contrast between one form and the other due to the directed light. This creates that fierce quality I was looking for so I created small pedestals for the lights and covered the surrounds with white tissue paper so that the light would be less noticeable.

FABRICATION: FINAL MODEL

REFELECTION: VIRTUAL ENVIRONMENTS AND ME

I found virtual environments an intriguing subject throughout the semester. Although at times it made me want to scream it was overall highly rewarding and developed many aspects of my design ability. I found the readings and lecture content stimulating as it often related to where I was with the process and gave me an insight to how learning outcomes from this project can be applied to wider circumstances such as dealing with materials, choosing materials or even simply transportation.

I felt my design was a successful outcome as it showed multiple aspects of tectonic plate movement that aren’t immediately visible. It showed this great twisting force that crushes and contours the earths surface. Whilst not being too imposing as the lantern had size constraints and it would usually be viewed on a table a bit below eye level. I didn’t previously discuss why I chose for my lantern to have a flat base as I could never think of a successful iteration that didn’t do so. As my process happens below the earth’s surface I felt it wouldn’t be appropriate to design my lantern any other way than almost emerging out of the ground.

When transforming my ideas to digitization I did feel quite limited by the technology or lack of understanding of it. I felt quite impatient as I longed to be able to use rhino to its full ability. I felt my outcome was a still a sufficient effort though. The idea that digitization brings about a world of endless possibilities and allows for increased complexity in a design, as discussed I the reading from Macfarlane (2005) is very true, technology does allow for us to push our ideas further and grow more outlandish though in some ways we are still limited by fabrication.

Although the technology of 3D printing is available if you have to physically construct a model such as we did in this subject, it can be far too easy to get carried away. I found that during the digitization process I simply thought about making whatever fulfilled my brief, whatever looked visually the most appropriate and then at the end realized what I had done and the complexity of creating it. Although I didn’t want to limit myself and ideas I see now that it is important to still keep the long-term projection of where you need to take a design or how you need to fabricated it.

All these factors and more taught me how to have a critical understanding of design concepts and processes.

Although I had designed 2D graphic designs before the world of 3D design is a whole different ball game.

Although there are similar principles, mainly having an idea and the trying to aptly communicate it thorough various forms of media, the media and forms of communication open a world of endless possibilities. A lot can be said for use of multiple forms of media, I often find that use of one medium simply doesn’t allow for me to effectively communicate ideas. This was especially visible during the ideation process As I continually looked at drawing and model styles with clay and paper to express my ideas.

Overall I found Virtual environments taught me a lot about individual processes and wider application, from gaining an understanding of how to use rhino to the endless possibilities of fabrication such as laser, and 3D printing. I felt it further enhanced my ability to design and critique my own work whilst opening my eyes to un unseen world of design during lectures and readings.

REFERENCES

http://www.ducroz.com/mimicry Macfarlane, B (2005) Making Ideas, Making Ideas IMAGES http://en.wikipedia.org/wiki/File:SUNSET_ROCKS_San_Andreas_Fault.jpg http://volcanocafe.wordpress.com/2012/02/13/earthquakes-whats-the-fuzz/

390995

luke cafarella module 4 semester 1/2012 group 04

introduction

The semester began with a project brief: to create a lantern that can be worn on the body, hung freely or carried by one person. From there the design process began.

Analysing a natural process, I experimented with shape in the second dimension, mimicking and abstracting the movement of mantis wings. This led to digitisation and an exploration of form and curvilinear geometry in the virtual environment of Rhino 3D. After moulding and panelising surfaces, I left the virtual world prepared to fabricate a lantern from paper. Prototyping first, I revisited the design, refining it until ready for a final fabrication. Answering the project brief, the final lantern was hung and illuminated.

ideation

mantis wing anatomy With more than two thousand species of mantis living across six continents, there are hundreds of variations in colour, size, and camouflage. Of these features, several are distinguishable, and are found in species all over the world.

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Tegmen

Inner Wing

Aposematic Display

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chlidonoptera vexillum

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Tegmen: a leathery, opaque, outer wing that protects the inner wing.

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Inner Wing: a delicate wing that is transparent and used in flight.

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Aposematic Display: a bright colouration on the tegmen used to startle and threaten predators

ideation

mantis wing movement

When threatened by a predator, mantis species alter their posture and extend their wings upwards into the threat pose, holding them in tension. This defensive stance is entered into quickly and flashes the aposematic displays on each tegmen.

Spiky Flower Mantis (Pseudocreobotra wahlbergii) entering threat display:

A

B

C

ideation

concept development stage 1:

Top view of Devil's Flower Mantis (idolomantis diabolica) entering threat pose

The design began by taking the dual wings of the mantis and simplifying them into a single shape.

From there, the shape underwent a process of abstraction, gradually loosing its fluid form and becoming more geometric, symbolising the tension of the extended wings, with symmetry being introduced to reflect the symmetry between the two pairs of wings.

stage 2:

front

perspective

right

Completing the abstraction process, a design was arrived at and modelled in plasticine. At this stage, the most important aspect is the distinction made between the inner and outer wings. The inner wings are represented in the top half of the model, as elements that lift up and reach out. The protective quality of the outer wings is represented in the lower half which is strong and supports the upper half.

design

initial digitisation

Q. How do forms and contexts influence each other?

inner wing

b

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a Top view of Devil's Flower Mantis (idolomantis diabolica) entering threat pose

Lofting in Rhino 3D, the influences behind the design were reassessed, and asymmetry was reintroduced to prevent the shape from appearing static. This better reflects the movement process of the threat pose rather than the final pose itself.

tegmen

The decision to place the section of the design representing the tegmen in the lower half was made to represent its protective quality. The section representing the inner wing was placed on top, symbolising its light weight and delicateness.

As evidenced by their widespread occurrence, in any given environment, a mantis adapts over time, many species adopting camouflage that blends with the natural surroundings.

The same can be said for architecture. Eureka Pavilion, designed by NEX and Marcus Barnett. for the Chelsea Flower Show, takes inspiration from the leaf cells of the plants that surround it. The surrounding garden is influenced by it too, affected by the shadows it creates, and the attention it draws from humans and animals alike.

This initial design was achieved by lofting the shape in Rhino 3D, using the cage edit tool to create asymmetry in the upper half, and the wire cut tool to create the cutouts on either side of the shape.

design

digitisation development

front

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perspective

top

Naum Gabo - Spheric Theme: Translucent Variation. 1937

Spheric Theme: Translucent Variation, a sculpture by Naum Gabo, was analysed when experimenting with form. The sculpture expresses a lifting movement consisting of two parts, each beginning in a central position, and moving out from one another, and then upwards.

Taking the asymmetric element that had come from the initial loft, a lifting movement was introduced into the design and re-lofted in Rhino 3D. The cutout sections were removed as a way of simplifying the form, their purpose of distinguishing the inner and outer wings, was left to be explored with paneling.

The new design has a much stronger sense of movement than the initial design, with a slanted base preventing it from appearing static. Openings at the top of the 'wings' will allow more light to escape, enhancing the idea of lifting.

design

paneling trials

wave 20x20 Experimentation in 2D paneling: finding the balance between too few and too many panels.

tribasic 20x20

tribasic 15x15

triangle 5x5

The chosen panel design consisted of enough panels to maintain the shape and complexity of the design, without using an excessive amount.

tribasic 10x10

design

final panel design

perspective

front

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The final panel design embodies the lifting movement of the mantis wings into the threat pose, drawing on Naum Gabo's sculpture to represent the extension of the wings. The centre panel strips are near vertical, with each progressing strip of panels fanning out and upwards, mimicking the movement of the mantis wing.

design

prototyping Guangzhou Opera House Zaha Hadid Architects

The Guangzhou Opera House by Zaha Hadid Architects was analysed as a precedent for lightening the design. A visually heavy building, its exterior is lightened by sections that expose the structural system beneath, glazing these, and allowing light to escape. Taking this aesthetic concept, a strip of panels from the design was cut out with triangles, opening the exterior of the lantern to test the effect. The outcome reduced the heavy appearance of the design when, allowing the interior of the lantern to be seen.

Panel strip with cutout triangles

Assembled panel strips prototyping cutout concept

design

prototyping 1

The prototype tested a rib system that was intended to strengthen the lantern. A rib was made from paper, with a shape cut out of the centre (1). Strips of panels were glued on either side of a rib (2), with each rib having a cutout of a stylised stage of the mantis wing movement (1). As the lantern was fabricated, these ribs created layers which filtered the light and formed a pattern when viewed from the interior only ( 3).

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However, as the strips were glued to the ribs using the tabs (4), the ribs created some problems, distorting the shape of the lantern, causing gaps between the panel strips (5) which required patching (6 and 7).

This worsened as the fabrication continued, to the point where the two halves did not match up in the centre (8), and although the ribs were interesting representationally, they segmented the lantern into sections when illuminated, interrupting the sense of movement intended to be displayed in the design.

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Cutout rib Panel strips glued to rib Interior view of lantern with layered ribs Pulling tabs together Gap appearing Patch strip Gap patched Complete prototype

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design

Aposematic display

Pushing the design further, the analysis of the mantis wing, was revisited, leading to the idea of including a representation of the aposematic display found on the tegmen or outer wing of certain mantis species. By removing a selection of panels on either side of the lantern, a hole was created, allowing a greater amount of light to escape. Echoing the display on the mantis wing, the cutout hole shines bright when illuminated, symbolic of the defence mechanism used to startle and threaten predators.

design

colour trials

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b

Final Design

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d

Having arrived at a form, it was time to begin experimenting with the use of black and white paper. The black paper represents the tegmen or outer wing (C). The dark colour mirrors the strong appearance of the tegmen, with the aposematic display being cut out from the black (D). The cutout triangles influenced by the Guangzhou Opera House are shown in pale yellow (A), with the white paper shown in grey (B). The final design uses the black paper to wrap around the lantern echoing the protection the tegmen provides the delicate inner wings which are represented with white paper. Overall, the lantern has the sense of movement the mantis displays in its threat pose â&#x20AC;&#x201C; a sharp, sudden extension of its dual wings, moving up and out, with a bright flash.

design

preparing for fabrication

Preparing for fabrication in Rhino 3D, the lantern was divided into strips, with each strip coded in colour, and then unrolled, ready to be printed and assembled.

Q. How do different media support different kinds of design inquiries and refinement?

Putting ideas onto paper with quick sketches is immediate and transfers a concept into a physical image. These images can be refined to a degree, by hand, as they have been in the past, but digital software of the 21st century allows precision to be achieved easily, turning abstract images into mathematical images, and a new level of refinement to be achieved.

fabrication process

Q. How do different kinds of fabrication technologies make possible as well as constrain what can be constructed?

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Tracing printed strips onto paper Cutting out strips Cut and scored strip showing unfolded tabs Strip with cutout triangles Strips with tabs folded in and glued together Holding glued tabs with bull clips while drying Semi completed lantern

The Bull Chair designed by Earl Pinto, is constructed from intersecting pieces of laminated plywood. The measurements of these pieces are exact, leaving no need for them to be glued, this precision being possible only with machine cutting.

The edges, however, are cut sharply, and are needed to be sanded by hand, demonstrating the opportunities provided and limitations applied by this kind of fabrication technology.

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The fabrication process was completed entirely by hand, and began by tracing the printed strips onto 270 gsm white pasteboard and 300 gsm black paper, both in A3 size. These were chosen as they were easily cut, but strong enough not to tear when scored and folded. Once traced, cut, scored, and folded, pinching the tabs together with bull clips while the glue dried resulted in a clean, seamless fi nish

fabrication

orthogonal drawings

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a *cross section on following page

top

back

front

right

fabrication

3

lighting and hanging

1. Lanyard knot

4. Rope attached to tabs with tape

2. Hangman's Knot (looped around doweling)

Soldering electrical wire to LED strip

3. Battery pack lashed to doweling

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The LED strips were strategically placed to maximise the area of the lantern they would illuminate.

Tape was stuck to the tabs in loops inside the lantern, allowing the rope to be threaded through them and up towards the doweling. Lanyard knots were used midway on each side to bind the rope together.

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*Cross section taken from A -A electrical wiring

LED strip

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final lantern

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1. final lantern 2. strips with cutout triangles 3. aposematic display 4. interior view showing tabs

final lantern light studies

When the lantern was hung from the doweling, light shining through the triangular white panels projected geometric patterns onto the surrounding walls.

Turning the lantern 360ยบ, different patterns emerged, each different and capturing the sense of movement in the design in light.

reflection

critical analysis How can representations and their material realisations be mutually dependent?

By definition, a representation can only exist dependent on the 'object' on which it is based; it represents it. But is that realised object independent? The lantern I designed and fabricated this semester is based on the natural process of mantis wing movement, and it represents this movement in each aspect of its design. However, as a material realisation, does the lantern cease to exist if that representation disappears? If so, then both representation and realisation are entirely dependent on one other, each needing the other to exist.

This is an interesting concept, and one looked at during the semester. A robotic arm has the ability to lay bricks in an arrangement based on a design from a program. The material realisation is yet to exist, and the representation non-existent until it to does so. Both are dependent on one another, and joined together through the robot.

What are the learning outcomes of this subject and its relevance to your further studies and future?

The most important thing I learnt this semester was pushing to further develop a design. Initial concepts are valuable, but refinement at too early a stage leaves a design stagnant, with its potential being left unrealised. An important lesson that I feel takes time to learn, but one I think I made progress on in the subject.

Looking back at my initial concepts, I feel as though I cut a good path to arrive at the final design, re-evaluating what was good and what wasn't, and refining the things I thought were worth keeping.

Working in Rhino 3D, was my first experience with digital modelling software, and the digitisation of the design, and the fabrication of the lantern, was an exciting process.

Beginning in the physical world, entering the virtual world, and returning to the physical world with a physical object was a compressed version of the design and construction of a building, and valuable for a future architecture major and career. Completing the lantern successfully has given me the drive to start learning how to use other design software, and to see what is possible.

Having completed the final fabrication, and moved onto the presentation, it became clear that the communication of ideas and actions are as important as the actions and ideas themselves. Practise with communication in the first three modules had shown the value of diagramming and layout, and the worth of knowing how to convey your thoughts accurately to another person is a priceless skill for a student and for any career, and something that can always be worked on.

references 2011, Pseudocreobotra wahlbergii , Zaludnica, accessed 29 May 2012, < http://www.zaludnica.com/img/interesting/disguised-to-kill/disguised-to-kill04.jpg> Chlidonoptera vexillum, Wikipedia, accessed 29 May 2012, <http://en.wikipedia.org/wiki/File:Chlidonoptera_vexillum.jpg> Marlos, D 2011, Idolomantis diabolica, What's That Bug, Los Angeles, accessed 28 May 2012, < http://www.whatsthatbug.com/2011/10/20/unknown-mantis-from-tanzania/> Pinto, Earl 2012, Bull chair, Earl Pinto, Collingwood, accessed 3 June 2012, <http://earlpinto.com.au/uncategorized/bull-chair/> Spheric Theme: Translucent Variation, All Art, accessed 24 May 2012, <http://www.all-art.org/Architecture/24-2.htm> Vasyliev, P 2010, Guangzhou Opera House, Flickr, Sunnyvale, California, accessed 24 May 2012, < http://www.flickr.com/photos/mychinapics/5063653329/>

module four

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

module one: ideation

I began the ideation process by exploring a number of different natural processes that interested me; the survival habit of a tunicate, the movement of a jellyfish and the popping of corn, as a kernal is transformed into a unique structure of fluffy popcorn.

Initially I was particularly intrigued by the circular structure and overall form of a jellyfish, perhaps looking at this task too literally as I was drawn in by the way light shines through the transparent body of a jellyfish like a lantern. Upon studying the movement of a jellyfish, I wasn’t sure how this inspired me as a natural process. I felt that I was influenced more so by the rounded body of the jellyfish and partially by the free flowing tentacles, ultimately having trouble developing this idea into something further.

However, researching jellyfish lead me to another sea creature called a tunicate, which in a basic form is a blob of jelly in the sea that pockets houses in order to collect food. When each sac becomes full it drops off and a new one is formed.

Finally the last process that interested me was the popping of popcorn and the way in which each piece of popped corn is completely different and individual. Translating aesthetic elements of a popped piece of popcorn I created paper and plastercine models. I especially like the square-like blocks of the popped piece of popcorn, using this to create a cubist surface with plastercine. I also liked the scrunched, free form of the popcorn, using a scrunched piece of paper and scrunched plastercine to mimic this.

I had difficulties translating my inspiration into plasticine models as I realised that I was focusing on the outer surface of the shape, rather than the shape itself. I needed to stop building surfaces ontop of blocks of plastercine and instead needed to focus on an intial, much simpler form in which to later build on.

Left: This model was based on the overall form of a tunicate and thought that this was perhaps one of my most successful forms. I thought it was visually quite interesting and felt it was a form I could develop further.

Left: This circular surface is was a variation of the tunicate plastercine model where I tried to incorporate the roundness of the jellyfish.

To the right you can see a few different trials using circles on the surface.

Left: This model was based on the wavy tentacles of jellyfish which are free flowing and continuous.

I felt the outcome of this model was quite boring and plain and chose not to develop this further. I did however like the general figure of eight sort of form created.

Still quite focused on the surface of my model rather than the form (when I shouldâ&#x20AC;&#x2122;ve been thinking about my form) I began to do a lot of paper cutting to give myself an idea of how the lantern may come to look. Originally I had envisioned a lantern that sat lightly ont he shoulder, however it was only later that I decided against a wearable piece and made a holding one instead. I liked the idea of having ďŹ&#x201A;aps that opened on the lanterns surface allowing light to shine through. The problem with the circles cut out on the left was the small triangle spaces created imbetween the circles which I quite like the look of, but on a lanternt his would mean too much light escaping through the holes and the triangles becoming a more predominant shape than the circles.

architectural precedents.

I came across this beatuiful piece of architecture on the internet, designed by architects Farzad Mirshafiei, Amin Aghagholizade, Farzin Misami, and Peyman Aali. The Bubble Skyscraper was inspired by the natural formation and structure of a bubble, similar to the way in which our lantern had to be inspired by a process in nature. I liked the triangular panelled surface of the building and how they used a network of triangles to create each bubble. Also liked the variety of open and closed bubbles which I reflected in my final lantern by having open circles and circles scored upon the surface.

module 2: design

Before I could start creating my lantern I had to take a step back and simply an initial form to then build on, before getting carried away with designing top surfaces. To create an initial form in which to build on, I decided to simplify a model I had created in module one, based on the general appearance of a tunicate.

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In order to digitalize my form, I made a larger version of my model and used the contour slicing method to translate it into Rhino. Lining it up against a piece of lined paper, I first created score marks upon the surface of the plastercine, as it was more precise and easily fixed if I made a mistake rather than using pen, and then proceeded to slice the model into segments after having left it in the freezer to harden.

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Although Rhinocerous was initially quite difficult to pick up, I found it was such a useful 3D modelling program which allowed us to model our design virtually and precisely to exactly how we wanted it. With the use of such a wide variety of tools I was able to play around and test things that I wouldn’t have naturally thought to have tried and this showed how technology can influence and transform an initial design.

Box Panel

Triang Tr iangle le

Diamond

Using paneling tools, I experimented with different 2D panelled surfaces. Being completely hopeless at Rhino at this stage I stuck to the basic default panels as I couldn’t get my own to work. I really like the triangular panels (in the middle) however felt that I needed to explore circular and rectangular panels more, ensuring I didn’t veer too far off the surfaces I had trialled with in Module one.

I managed to create one custom surface of lofted circles however I wasn’t sure how much further I could take this and didn’t see how I would be able to incorporate another surface onto this.

prototyping.

I created a number of different prototypes to create networks of shadows which I quite enjoyed. I like the way I could manipulate the malleability of the surface by the shape I used and also how this structure was able to support itself and stand upright. However I still didnâ&#x20AC;&#x2122;t wanted to create a more interesting surface and didnâ&#x20AC;&#x2122;t think this was the right path to follow.

design precedents.

These prototypes were inspired by the guest speaker Paul Loh who was one of the architects involved in the Times Eureka Pavillion. I liked the networks created between the wood and the shadows it cast on the ground.

Creating the shape I wanted on Rhino proved incredibly difficult and I decided to try and remodel my shape using a different technique after I wasn’t able to get my intial model to have a closed surface without having a flat “cap” on the top which I did not want. Instead I drew and lofted curves together and then manipulated them using cage edit. I realised that this surface looked quite uneven and messy and I wasn’t able to panel this surface properly without getting an uneven surface and a few gaps. I later realised that I actually want’ed an open top surface as being a lantern, the light could shine out the top.

designing an outer surface.

I began prototyping more surfaces, cutting out circular patterns and shining light through them to see the shadow that I could create. I was really pleased by the results and really wanted my ďŹ nal lantern to create a wonderful array of shadows around it.

In this prototype I cut out a series of different circular patterns on the one sheet to see how the shapes would interact with each other. Cutting them all onto one sheet also allowed me to easily compare what I liked and didn’t.

I really liked the open circles of varying sizes, the half open circles and the donut-like circles. I was rather pleased with the clarity and outcome of the shadows cast and hope that my final lantern will cast such clean shadows. I didn’t really like the half moon circles and the joint bubble cut outs that can be seen in the top left hand corner of the sheet. I felt the half moon cut outs conflicted with the perfectly symmetric aesthetic of the other circles, and the bubble-like cut outs were too abstract, looking almost like blobs rather than the merging of circles.

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

module 3: fabrication

I had multiple problems when trying to unroll my surface for fabrication, trialling a number of different ways, in strips horizontally and vertically with no success. This was till I realised that I wasn’t able to unroll my surfaces correctly because I had no yet triangulated my surfaces and square panels weren’t fit to unroll.

Unfortunately this meant that my original idea of drawing circles onto each box panel using flow along surface would no longer work as there would now be a score line down the middle of each panel. Instead I had to devise a new way of drawing circles upon the surface and with the help of a tutor I was able to use a Rhino script to make the process of drawing circles upon the surface much less time consuming.

Rather than drawing each circle onto the surface individually, and using “flow along surface” I used a Grasshopper script to populate each strip with circles of the same size. Using Grasshopper I was able to use the “slide” bar to adjust the radius of the circles, and the grid plane to position the circles on the surface.

Although the circles weren’t always in the correct place on each triangle, I was able to quickly populate and “bake” circles onto my surface. After this I could manually just move the circles around how I wanted and begin creating my pattern.

To create my tabs I also used a Grasshopper script which made this process quick and easy.

In creating my pattern I first populated the surface with a number of different sized circles, that were bigger and more dense in the middle and dispersed and got smaller outwards towards the top and the bottom.

To create these half open circles which would fold and flap out to make the flat surface slightly three dimensional, I “trimmed” some of the circles and created a score line through it, where the circle would fold.

To make the donut-like circles I drew a circle within a circle and used the trim tool to cut through the middle twice, and then reconnected the cut lines.

As you can see, the flaps rotate from facing left, to facing down, and finally facing to the right, slowly rotating as they move up the lantern. This is beacuse I wanted the light to shine downwards on the biggest surface (being the back of the lantern) and to fold inwards as they turned to face each other in the front curve of the form.

material/construction prototypes.

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

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

construction process.

architectural precedents.

[Uptown Penthouse by ALTUS Architecture + Design]

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

limitations.

One limitation I had with the laser cutter was that it can only score one side of the card, meaning that where my surfaces fold inward towards the middle, the hinges are forced to fold into themselves making the indent in the model very challenging to construct. I had to be careful not to tare or bend the panels when folding the scorelines in on themselves and these inward folds especially on the thick card used in my prototype could’ve easily warped the whole shape of the model. I had to be very careful whilst constructing my final model to ensure that each tab was glued so precisely to avoid this problem when attatching the vertical inner strip of the model to bring the shape together.

The second limitation I had was finding in finding my desired paper. I was really happy with the general aesthetic of the mount creamy/yellow mount board I had used for my prototype and the sturdiness of it, however the thickness had its limitations. Beacuse the card was so thick the surface wasn’t perflectly seamless as the tabs created tiny spaces between the edges, ultimately minutely changing the height of the model meaning the middle strip wasn’t perfectly inline. Not only this but the board was made up in layers and where the bends were quite sharp the top layer of card began to peel slightly in some corners. Some layers also peeled on the open flaps where the paper was strained.

Lastly, the laser cutter also did not create deep enough score lines, mearly skimming the surface which meant I had to knife all the score lines by hand which was a hugely time consuming process.

altering my surface pattern.

Because the paper I used in my prototype was so thick, many of the circle cut outs weren’t cut all the way through. However I actaully really liked the aesthetic of having cicles drawn upon the surface and ended up leaving a number of these circles as score lines.

Although I liked this pattern drawn across the surface I didn’t think of the implications it would have once I installed light into my lantern, as it meant obviously that light would be blocked from shining through and in the dark the score lines wouldn’t show up anyway. Despite this I decided for my final model that I would change some of my cut circles to scored circles, however not too many as to change the way in which the light disperses in a circle around the lantern.

I also had to make changes to the size of the folded circles, many of which were too smal to flap open appropriately. Rather than placing the score line half way through the circle I decided to move it up and have it 3/4 of the way up the circle instead. This allowed it to open more easily and also kept the shape looking more like a circle.

The shadow of this also looked better, as a more circular shape rather than a cresent-like shadow.

The other thing I had to change was moving some of the circles away from the edges of the triangles where the surface curved, as when they were too close they were more prone to ripping.

The circles also looked clearer and neater when placed at a more comfortable distance from the edge.

installing light into the lantern.

Originally I thought that placing a lightbulb at the bottom of the lantern would allow the light to shine up and through the whole lantern, ultimately allowing light to escape through each of the holes. I hoped they would disperse nicely in a circular pattern around the lantern, however when I sat my LEDs at the base of the lantern, this was not the case.

I realised that in order to get my desired lighting effect I had to either hold the light towards the top of the lantern, or place the light within the centre. Because there was no real platform or support structure within the lantern, I had to think of ways in which I could install the LEDs in the correct spot to produce the pattern of shadows I wanted.

light installation.

Using LEDs without an on or off swtich meant that the bulbs installed within the lantern couldn’t be too far in the lantern so that I would still be able to fiddle with them and turn them on/off without ruining the way in which I had set it up.

Although I thought that the cardboard structure would be able to support internal wires that I could hang the lights off, I realised that because I had to change to a much thinner paper, that I would be unable to do this. I ended up just sticking the lights into the holes on the inner side of the lantern where they weren’t too obvious and they fitted quite snuggly into place in the circles.

I was overall quite happy with my final lantern, the paper made for a more fragile lantern, however the flaps, tabs and strips worked a lot better than the cardboard.

module 4: reflection Before starting virtual environments I thought I had some knowledge about the design process and construction of a building or object however by actually being physically involved in this whole process, from beginning to end I realised how complex and intricate this process can be and that I knew next to nothing.

Virtual environments has made me notice things in architecture, industrial design objects and jewellery that I would never have thought to even consider. Even just taking the tram to uni in the morning I notice the use of panelling in a number of different buildings, identifying which panel this would be labelled in Rhino for example. When I see flaps in buildings I think about how light would shine through them, I see “offset” surfaces in objects and think about how certain jewellery has been fabricated using a laser cutter.

I found the most challenging part of the course was learning how to use Rhino. It was frustrating at times not knowing how to make the program do what you wanted to, or not knowing how to fix things, however towards the end of the course I found myself navigating Rhino and Grasshopper quite quickly. I even find myself automatically “commanding” other programs to do things before realising that I am not using Rhino.

My favourite part of this subject was physically making and cutting prototypes and models. Although time consuming I love being able to create a physical model. Overall I really enjoyed Virtual Environments and it was great to see everybodys work at the lantern parade.

VIRTUAL ENVIRONMENTS

Olivia Potter Student Number 586562 Semester 1/2012 Group 13 Ideation

Design

Fabrication

Reflection

MODULE FOUR

Ideation

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Design

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Fabrication

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Reflection

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CONTENTS

IDEATION Module One

1. INSPIRATION The initial natural process I looked at was growth â&#x20AC;&#x201C; the transformation of a system into something more complex. However, it can also mean an organism becoming more developed.

I began by researching the amazing conversion of a yolk into a chicken, a natural process that takes an average of 20 days.

While in animals, something wet like a yolk turns into something soft like a chicken, the opposite is true of fruit. The softness of petals instead morphs into the wet, stickiness of fruit flesh.

This observation aided me in my sketch proposalthe Transformation of delicacy to stiffness.

This was my inspiration for my lanterntransformation through growth.

To represent this change, I decided to use a pomegranate, which is a slightly unusual fruit.

Chicken Development image taken from <http://www.ogpbb.com/chicken-embryodevelopment/stages-of-chick-embryo-development.html>

Above: the development of a chicken embryo provided me with inspiration for my natural process analysis.

2. Geometry Upon further investigation into the form and function of my chosen process, I noticed that pomegranate seeds are arranged hexagonally within their vibrant shell. As noted in The Shape of Things by Philip Ball (2011), nature re-uses this hexagonal pattern in both the organic and inorganicâ&#x20AC;&#x201C; for example in beehives, snake skins and volcanic rock formations. Evolution is constricted by limitations of physical law, and it is likely that a hexagonal arrangement is the most geometrically economic shape within the boundaries of evolution. Hexagons are able to be stacked and arranged into a regular lattice, producing tessellations.

Above: Pomegranate flesh

Above: the geometry of the honeycomb allows the cells to tessellate together resulting in the quintessential character of the beehive.

Philip Ball (2011) continues in his paper to reveal that the patterns and order we can see everywhere in nature are mathematical harmonies that pervade and structure both the organic and inorganic world. This is undoubtable true of the structure of the pomegranate. I explored the symmetry of the fruit using quick sketches.

The beauty of sketches is addressed in the reading Visual Thinking for Design by Collin Ware (2008) where he ascertains that sketching is a glorious tool to encapsulate thoughts and ideas.

Above: Hexagonal arrangement of pomegranate seeds

3. ACKNOWLEDGEMENT OF PRECEDENTS

Haramain High Speed Rail Link Stations Client: confidential Area: 64,000 m² Type: four iconic stations, each 450m long Status: competition entry Date: 2008

All images and information sourced from Atkins (Firm) 2011, Atkins Architecture & Urban Design, The Images Publishing Group Pty Ltd, Australia

This train station was an important source of inspiration. It conveys the transformation of something floaty and weightless such as a petal into something more rigid in the form of a structure.

Architects have created a beautifully sculptured rail link station. This structure promotes the concept of fluidity and organic flow by using a series of prefabricated, arched components. This creates the appearance of weightlessness and modernity.

4. SKETCHES

I wanted to create something that mimicked the fluency and slickness of growth, the natural progression. I began by moulding exactly what I had drawn however, the sphere at the front of the body was too heavy and disrupted the balance that I wanted to create. It suggested the end of the growth process through the abruptness of the shape, however, after growth comes decay. I wanted my lantern to suggest that this process is continuous and so I decided to adjust the sphere to a more guiding shape â&#x20AC;&#x201C; that of an almond.

5. DEVELOPMENT OF MODEL

Above: I added an extra frill to the neckline and altered the shape of the sphere to a flatter, almond form. This created balance and represented the natural process more wholly. I like this shape more.

6. REFLECTION – MODULE ONE Realising that there is rationality behind all natural processes was something that really changed in my thinking during Module One. This was due to the many lectures on natural process but more so, the pioneering reading by Philip Ball , The Shape of Things asserting that nature is spontaneous however, it is not arbitrary.

Being able to extrapolate the movement of natural process was the most challenging part of the Module One. It meant looking beneath the surface and using intuition to imagine forms and shapes. This included letting go of the rational to almost allow organic processes to sculpt themselves.

This is perhaps what Henry Segerman and his work on mathematical art, sculpture, Second Life and autoglyphs was talking about – being guided by already existing patterns, whether they be in mathematics or nature to create intricate designs that perplex and confound.

Henry Segerman however, is not the first person to realise that within every natural processes there is a mathematical equation. Scientists and artists alike have been extrapolating these algorithms and mathematical models for centuries, including the Chinese and Leonardo Da Vinci . As Da Vinci once wrote, “[to understand any process you need to transcend the limitations of the eye]”.

To many designers the abstraction of natural processes and mathematical patterns could be seen as almost a backwards progression – a sort of harnessing the imagination that is counter-intuitive. However, as I realised, it is not obstructing at all. Analysing the forms that natural process take facilitates ingenuity as you try to make sense of the patterns of nature. It opens a new world of creativity through thought reversal.

This process for me highlighted the importance of looking towards the most unexpected and simplest of places to uncover great design. Many designers do this in their work – they too look at natural processes. Often, their unsurpassed works come from the simplicity and enormous beauty of nature – for example ‘Falling Water’ by Frank Lloyd Wright and Ranjani Shettar in her sculpture. Every design begins as a simple idea that expands and strengthens into something complex. It is important that we recognise this and are able to reverse this design process to be able to better understand the though processes in the world of design.

Q: How do forms and contexts (of use and resources) influence each other?

Forms and their contexts are inextricably linked. Forms are heavily derived from their environments as they are sculpted according to their constraints.

DESIGN Module Two

7. DIGITIZE Top View

Right Hand Side View My initial step in digitalising was to take orthogonal photographs of the original plasticine model.

This allowed me to next be able to trace the profile curves in order to digitise it using Method Three using the Contour Method guidance. This method seemed the most appropriate it because it allowed for the complexity and delicate nature of my design through not having to cut it up or draw on it.

Once the model had been photographed, I transferred it on to Rhino using the Picture Frame tool.

Left Hand Side View

Back View

8. DIGITIZE

The first steps in digitising my work were tedious and arduous. It was difficult to duplicate the curves of my clay model exactly. In particular, the folds of the design would intersect each other which I knew would create problems for the future panelling steps. To fix these issues, I added extra control points and manipulated the shapes of the curves. I also added an extra line to loft the curves over, resulting in a more organic shape.

I created a box from my orthogonal photos in which I could work to digitise my model.

I had to ensure that the scale was correct in each frame to enable me to easily replicate the design digitally.

Image taken from http://www.wearedag.com/ourworld/?p=4

9. SCULPT & DEVELOPMENT

VPM: Variable Porosity Matrix

PRECEDENT Project Description: An elastic matrix is produced by permeating a solid material with an interconnected network of voids.

Volumetric changes in the voids result in the deformation of the medium producing varying degrees of porosity and geometric deformations of the matrix.

This design used many different shapes to produce something that is truly unique â&#x20AC;&#x201C; an element that I would have liked to use in my final design.

I also liked the drama of the black colour that they have chosen to use and during the development phase, I wondered whether it would be possible to use black in my completed design. This would contrast with the white lights from the LEDs and be visually very effective.

I also liked the varying changes in the size of the central shape within the main body of the squares. The way the front side of the three dimensional panel is skewed in comparison to the back side of the three dimensional panel creates a funky contemporary and aesthetically pleasing design.

I developed my model by continuing the bottom curve over the shoulder.

My plasticine model had a added almond shaped pendant on its base however a three dimension shape like this would have been difficult to join to the pre-existing two dimension shape so it was therefore decided to instead use the bottom curve as the basis for this almond shape. The shape was formed by adding an extra curve to the lofting plane of the base curve.

The control points were then manipulated to create the desired form.

10. PANELLING - CUSTOMISATION

I really loved the idea of panelling my design with the panels I designed on my right however, the curved character of the design limited my ability to be able to have panels of this nature.

My technical competence of Rhino 5 was a major restraint in my capability to be able to create a lantern as intricate as desired.

11. PANELLING - FINAL This experiment with cardboard used random triangles.

While, of course, on a bigger scale, my panels had some flaccidness to them, on a smaller scale, as can be seen here, the structure is stiff.

On a large scale, my panels were more flexible and lithe to represent the flowing and delicate nature of the petals of the pomegranate flower.

PtOffsetBoarder Random

The random offset of the boarder in these triangles created a slightly hectic yet somehow patterned design, which matches the internal structure of a pomegranate.

12. REFLECTION- MODULE TWO Module Two was an incredibly challenging experience. Particularly, learning how to use Rhino 5 competently and quickly was a great difficulty as I was not exceptionally technologically astute. Above all, the use of the panelling command in Rhino 5 continually presented me with many complications which deterred me from continuing down certain paths of application.

For me, the use of Rhino could have been described as a love-hate relationship.

Sometimes, I would experience fantastic breakthroughs in my understanding of the program such as when I first transferred my design onto Rhino 5. This left me feeling fantastic however, I would often then try to progress to the next step only to find myself stuck once again.

Through the use of the program, Rhino, I have begun to see how designers, primarily architects are able to use CAD technology to reflect their imaginations. Technology is continually expanding the boundaries of what is possible in the design world. Once the use of the laser printer was considered revolutionary however it is now design tool many would not be able to live without. Likewise, in the future, three dimensional printing technology will become a norm and not a the miracle it is viewed as now.

In the reading, Mathematics and the Sensible World: Representing, Constructing , Simulating

by Dahan-Dalmedico (2011), it explores the progression of mathematical modelling through history from Galileo to the work of mathematicians of today. It examines the philosophical question whether mathematics is a human invention or the blueprint of nature. Whatever the case, mathematics is becoming more and more relevant to the technological world of the 21st century as humans use it for controlling and extending their imaginations.

My final design, although it was simple, played upon the idea of the stiffness and rigidity of pomegranate formation. Although a pomegranate begins as a delicate flower which is embodied through the curvature of the design, the resultant fruit is extremely stiff. This was the reason that I chose to work with triangles. They are the strongest of all shapes and, like the seeds inside a pomegranate they tessellate. They interlock and join each otherâ&#x20AC;&#x2122;s edges.

Q: How do different media support different kinds of design inquiries and refinement?

Different media yield highly varied designs. Sketching produces a design that is very open to individual thoughts while using a Nurbs Modelling program such as Rhino instead creates forms that require minimal use of interpretive thinking.

Expansion of these designs can be assisted through using the Help Menu in Rhino while sketched designs can be improved using constructive criticism.

FABRICATION Module Three

13. UNROLLING In order to unfold everything, I first had to align the separate triangles using the flip tool in Rhino 5.

I then colour coded all the strips to make fabricating the lantern easier later in the process Figure 3.1 shows the panellised surface ready to unroll while Figures 3.2-3.4 illustrates how the surfaces were separated ready for fabrication.

Figure 3.1

Figure 3.4

Figure 3.3

Figure 3.2

14. RHINO PRINT FILE

Once the strips were unrolled, they were then nested. Although I tried to reduce the number of pages I would need, my design still required eight pages.

My strips were then numbered to make sequential ordering simple for the construction process.

I chose to use tabs on all of the sections. This would later support my design by making the overall flexibility of the form stiffer. The tabs acted as a kind of box frame.

14. PROTOTYPE FABRICATION Figure 3.6

Figure 3.7

Figure 3.5 Figure 3.9

Figure 3.10

Figures 3.5-3.10 show the steps of fabricating the prototype of my model. While the prototype was white ivory card, the final was chosen to be black because I liked the drama and the theatrical sense that black created.

Figure 3.8

http://www.dezeen.com/2008/08/08/voussoir-cloud-by-iwamotoscott/

15. PRECEDENT

The installation toys with the idea of light peering through breaks in the form and the possibilities of patterns that it creates. The curves of the installation produce a graceful installation that I hoped to emulate in my final design.

Voussoir Cloud is an installation by American architects Iwamotoscott. It is constructed using paper-thin wood laminates, scored with a laser and folded along the curved seam in to the wedges that can be seen here.

Voussoir Cloud

By Iwamotoscott Architects

16. ERRORS, JOINERY & LIGHTING Figure 3.11

As can be seen in Figure 3.11, my prototype contained quite a few mistakes adding to the weakness of my lanternâ&#x20AC;&#x2122;s form. Particularly, there were mistakes panelling errors where cut lines had been made instead of score lines and in some cases panels were missing. For my final, I resubmitted the Rhino final to ensure all errors were fixed.

Figure 3.13

Figure 3.12

Figure 3.12 demonstrates the bull clips that I used to combine the four different panellised surfaces into the one form that was my final.

In Figure 3.13, the lights that I used for the final are shown. To light my model I simply masking taped the batteries to the ends of the lights so that they permanently were switched on. One of my limitations of Module Three was my limited knowledge of electricity and how lighting works. I would have preferred to have a switch however my disorganisation with time pressures meant that I instead had no switch.

17. FINAL MODEL

Fabricating my final model followed the same steps that can be seen in Chapter 14. The only difference was the card was slightly thicker and less malleable. This however was a good thing as the final structure was more rigid and less flexible.

18. CRITICAL ANALYSIS Surprisingly, Module Three was the most straightforward of all three processes. It was a rewarding progression of seeing my computerised and virtual model final become a tangible and physical object. By completing this process, it has made the mind boggling models I see in the architecture building seem slightly more obtainable. It opened my eyes to the world of virtual design and the unlimited possibilities that can be found through augmenting designs through digital technology.

By following the video clips on the LMS, fabricating my final design was made significantly easier. Following the steps in the clips was uncomplicated and I encountered no real severe problems.

I believe that the computer and fabrication process of Module Three can be strongly related to the lecture on Monday the 7th of May where Jon McCormack from Monash University posed the question ‘can a design outperform its designer?’ Through undertaking this design process using computer software such as Rhino I believe the answer is yes. We may be limited by our imaginations but we are definitely not limited by technology. Rhino has personally stretched my imagination and knowledge of what is possible. Technology is now taking us to places which were never thought to be attainable before today. It is easy to become scared by the limitless potential of digital technology, however more important is to become excited and inspired by it. It is fast becoming the way of the future and it is important that its potential is recognised. Computer digitalization has broken Descartes’ Dictum that once stated “there must be at least as much reality and perfection in the cause as in the effect“. A design can have the ability to extend beyond the knowledge of the designer.

This module really made me want to investigate more into the world of computer technology.

Is really possible to make anything? Is everything that can be imagined lying ready to be uncovered in the form of digital technology?

Q: How do different kinds of fabrication technologies make possible as well as constrain what can be constructed?

In recent years, fabrication technologies have developed substantially. Three Dimensional printers are gradually being integrated into modern society including in professions such as in automotive and aeroplane manufacturing to reduce wastage and allow for more intricate design that would otherwise be impossible. 3D printing allows for what once was unfeasible.

Fabrication technologies are continually advancing. Our lantern designs would have once been restrained by the digital world of say, 20 years ago however, now the possibilities are almost limitless.

REFLECTION Module Four

http://www.popartuk.com/photography/new-york/colourful-night-life-in-times-square-ph0237-poster.asp

19. REFLECTION It is exciting that the digital world is increasingly integrating itself into modern society. As explored through many of the Virtual Environment lectures this semester, technological advances are happening all around us, from city squares where it is possible for people from Seoul in South Korea to interact with people from Melbourne through dancing to in our public spaces where billboards are able to change their behaviours according to their audiences.

Beginning to understand the way technology operates has been very liberating for me.

Although learning Rhino 5 is only a small feat on the way to grasping the way digital technology can be used to enhance a design, it is a start. I hope in my future student life I will continue to understand and increase my awareness of digital information in the 21st century.

After completing Virtual Environments, I feel inspired by the endless possibilities that are achievable through using a program like Rhino. Although, I am still quite shaky on panelling, I feel if I were to be given more time and practice, Rhino could become more like second nature.

It is important to have an open mind when using a new program such as Rhino. Be ready to explore and investigate the program through play. It is through activities such as these that you learn the fastest.

Times Squareâ&#x20AC;&#x2122;s many billboards

What I have learnt is to approach learning not with fear and worry that you wonâ&#x20AC;&#x2122;t understand something but with excitement and energy. It is very easy to slip into a negative mentality when learning something that is difficult however, optimism and persistence is the key to handling something that was once first considered unmanageable.

The HELLO project operating between Melbourne and Seoul

20. REFLECTION Q: What are the learning outcomes of this subject and its relevance to your further studies and future?

Q: How might representations and their material realisations (or insights) be mutually dependant?

Main Learning Outcomes: • Basic skills in Rhino 5 • Increased understanding of the design process • Ability to evaluate and critically analyse processes • Ability to acknowledge and be inspired by precedents • Ability to extract forms from natural processes • Aptitude to look towards nature for inspiration

Representations and their formation into materiality are highly dependant on each other. Material realisations are able to be achieved through their drawn or virtual representations. At the same time, the representations must keep in mind the limitations of the material being used and how that changes the design. They are codependant.

Main Outcomes Useful for Future learning • Higher level of problem solving skills developed from encountering several issues both in Rhino and in the material process • Greater level of technical competence

Virtual Environments was an erratic and up-and-down process for me. Design is never straight forward and this is a difficult concept to accept. It is very hard to achieve perfection and a result that designer is happy with. Looking back on my lantern there are things now that I wish were different- chiefly, the panelling type and their complexity. However, designers evolve and the understanding of what is possible changes too. Technology is helping us to realise this- anything imagined is able to be made tangible.

MODULE 4

Tiffany Natasha Santoso

Group 15

551502

Semester 1/2012

Virtual Environments

IDEATION

This module is about the exploration of concept. This is the process of analysing and observing through research, sketches, model making, diagrams and precedents. The use of resources in different forms assisted me in gathering inspirations to design my lantern and helped me in enhancing the concept I am trying to present. This module shows how forms and contexts influence each other.

Virtual Environments

Natural Process Analysis: Mimosa Pudica

The Plant Fig 1.1

Module 1 briefing was introduced during the first tutorial. I started to brainstorm for inspiration and ideas for this project by recalling sweet, interesting memories. I remembered how I loved to play around with this very unique plant when I was young.

“Shy Princess” is what they are named in my country, Indonesia. The fact that they are very responsive and sensitive compared to other plants, makes them unique and compelling. The Fig 1.4 shy princess plants will shut down everytime you touch them conveying ‘shyness’. There are a plenty of them in my garden. They are a type of ‘weed’ To get familiar with the plants and to recall my memory that usually grow, creeping in between aswell, I started with looking for a time lapse video of grasses. Scientifically, they are called the Mimosa Pudica plant while they are responding to a Mimosa Pudica. Every morning when touch. I found out later that these movement of curlthe sun is up, I would pop into my ing up in response to the touch is called Thigmonasty. garden to give these plants the slightest I began to sketch the plants in different conditions, to touch and put them into sleep. Later explore the physical features of this plant and the moveduring day, these plants will be rejuve- ment of thigmonasty. Mimosa Pudica leafs are green, nated again and I would come and put feathery and fern like segments near the end of leaft them into sleep again. I just loved and stalk. Each segment is divided in approximately 10-15 bewildered by the interaction I have pairs of leaflets (Fig 1.1). When leaflets are disturbed with these endearing plants. How the or injured, they will rapidly draw back and fold (Fig process happens in a blink of an eye. 1.2, Fig 1.3). These leafs will reopen minutes later. Leaf The shy princess plants draws so much stalks are a bit prickly. During blooming season, flowers attention from me that it became my grow at the end of leaf stalks in the form of fluffy balls favourite plants when I was young. and pale pink or purple in colour (Fig 1.4).

Chapter 1: Ideation

Fig 1.2

Fig 1.3

Virtual Environments

Natural Process Analysis: Mimosa Pudica

Thigmonasty

Fig 2.1

Thigmonasty in plants is a nastic movement in response to shock due to turgor pressure caused by vibration from being touched, shaken, heated or rapidly cooled (Collins English Dictionary 2012). This movement involves the rapid folding of the leaflets and the dropping of petiole. The part of my body which interacted with the Mimosa Pudica plants was my hands through the sense of touch. I was then able to witness the process of thigmonasty. At this stage, I was conviced that I want my model to be around my fingers towards my arms.

Fig 2.2 The two diagrams above (Fig 2.1, Fig 2.2) belong to the AA EMTECH (Emergent Technologies & Design at The Architectural Association) - Hack, Marti, Mater & Partowidjojo. Their work is based on the structural changes in the behaviour of Mimosa Pudica during thigmonasty, focusing on the osmotic turgid process of the cells that reacts after it is being â&#x20AC;&#x2DC;disturbedâ&#x20AC;&#x2122;. These models are to examine the change in the distribution of the turgid pressure inside the motor cells.

To me, these diagrams that they made describing thigmonastic is really clear in a sort of abstract way. They managed to successfully capture that folding effects of the leaflets during thimonasty. The two experimental graphs from AA EMTECH have became the foundation and inspiration to my paneling patternsn through out this project.

Chapter 1: Ideation

Virtual Environments

Precedent Recognition

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

Thigmonasty - Linfan Liu and Luke Johnson (Spring 2009). Thigmonasty was the inspiration of these amazing designers to create simple shape that can be folded into complex geometries. In this precedent, the panels consist of one triangle made of numerous triangles. This turns the overal triangle shape into a new complete abtract shape when the tiny triangles fold in. By adding sensors to the panels, it creates interaction between the body and the panels. When a person gets closer, the tiny triangles within the overal triangle will fold in in response to the touch. As time goes by, the tiny triangles straighten back into the overal triangle shape.

This project inspires me a lot to the direction that I want to go with this lantern project. Just like them, I want to capture the effect of thigmonasty in an abstract way. Through lighting, they managed to tell a story of a mimosa pudica plant which undergoes thigmonasty. The gaps created when the triangles fold in also produces really unique and interesting set of shadows and light. As a designer, I personally like things that tells something/story. I think it gives a deeper value to the design and shows that the design is well thought.

Chapter 1: Ideation

Virtual Environments

Natural Process Analysis: Mimosa Pudica

Development of Design

Fig 3.1

After doing a time lapse sketch on the process of thigmonasty in a Mimosa Pudica plant, I start ‘doodling’ randomly to develop the design of my lantern. I want my lantern to represents the shape of a Mimosa Pudica leaf going through thigmonasty. However, I want to produce abstract shapes rather than literal ones. The reading on Analytical Drawing: In Kandisky’s Teaching at the Bauhaus assisted me to represent my concept in an abstract way. Using the techinique of simplification during the ‘doodling’ session through representation, network and tension, I tried expressing how leaves starts to fold in response to vibration, producingflexible curve-like movements.

Chapter 1: Ideation

After a continuous session of doodling, I decided on the form that I like the best for my lantern (Fig 3.1). As stated before, I want my model to be around my arms due to my personal experince with Mimosa Pudica plants. Therefore, I wanted it to be a a wearable lantern in the form of a ‘glove’. I also decided that I want to have different kinds of paneling patterns in my lantern, in aim to capture the effect of thigmonasty through lighting and shadows.

Virtual Environments

Natural Process Analysis: Mimosa Pudica

Development of Design

From doodles to 3D model making and 3D sketching to develop my design.

Chapter 1: Ideation

Virtual Environments

Key Ideas

Development of Design

I decided to make my own diagrams based on my previous sketches and model making to start planing and envisioning my panels. Here again, I demonstrated the use of analytical drawing where I utilized different colours and other form of art to help me in viewing process analytically. As explained by Poling in Analytical Drawing in Kandiskyâ&#x20AC;&#x2122;s Teaching at the Bauhaus: variations in colour was also used to promote both differentiation and simultaneous cmprehension of the phases of the process (Poling 1987).I want my panels to tell the story of thigmonasty. The patterns to my panels are inspired by the two diagrams from the AA EMTECH - Hack, Marti, Mater & Partowidjojo, which I prevously discussed at the beginning of module 1. Firstly, the brown coloured area will represent leaflets that folds in when disturbed. This is the reason why the brown coloured areas are closer to the lower part of the arm and towards the fingers.

Chapter 1: Ideation

Secondly, the blue coloured areas will indicate the leaves that are about to close and fold. Thirdly, the orange coloured areas of the model will indicate how the movement of thigmonasty started to ascend, creating the half folded leaves. Finally, the yellow coloured areas represent the leaves that are not folded yet or the leaves which are just about to get affected by thigmonasty. With these different kind of openings in my panels, I am hoping to achieve varieties in light and shadow effects that are inspired by the movement of thigmonasty.

Virtual Environments

Chapter 1: Ideation

Virtual Environments

DESIGN

This is the process of design investigation to transform ideas and concepts into something that can be fabricated in the future with the use of media. It involves countouring to digitization in Rhyno. This is also the process of design refinement with the help of a software.

Virtual Environments

Digitation

Initial-Ideas

Fig 4.1

Chapter 2: Design - Digitize

Fig 4.2

Fig 4.2 (top), Fig 4.3 (bottom)

To begin the process of digitizing, I took photographs of my clay model (Fig 4.1) and did sketches (Fig 4.2) of it so that it can be used as a reference when designing it on Rhyno.

Along with the photographs and sketches, I decided to use the method of contouring to help me on my digitizing process later on. During the lecture, we were introduced briefly to the idea of countouring.

This method is beneficial in a way that it will help us build our shape in a detailed way just like how the model is made with clay. The key here is to preceive our 3D model in 2D sections. Contouring involves slicing the dry and hardened model into sections to get an idea of the outer shape of that separate sections (Fig 4.2). Vertical contouring was what suits my model. After the process of slicing, I laid the slices on a piece of gridded paper and traced them (Fig 4.3). These outlines guided me through the process of digitizing on Rhyno.

Virtual Environments

Digitation

Rhyno Model Refinement Process

My initial form was not satisfying enough as I was trying to get familiar with Rhyno and did not know that many tricks to refine my model. The major problem at this stage was the smooth flat surface on top, it is not what I want initially. As time goes by with the help of the tutorials and extra rhyno help sessions, I finally learned how to edit points in the model to create interesting curves on my model.

With the rhyno function of control points manipulation, I was able to add unique sharp edges to the flat surface on top and managed to edit the curve flow of my model. I was happy that it looks aesthethically pleasing to me. Later then I found out that the surface has some curves that are too complicated and problematic. There are collisions of points which needed to be refined so that my model wont be problematic during paneling, unrolling and fabricating.

I realized that I need to further manipulate my model to make it work. I was then introduced to the “rebuilt” function on rhyno which allows you to move the points within the surface and achieve a more smooth overall look.

Instead of using the “smooth” tool, I prefered to utilize the “rebuilt” command to be able to have a complete control during the refinement.

As it can be seen, the grids in the final refined model looked more smooth and evenly distributed than the previous one. Furthermore, I also managed to get rid of the overlapped points.

Chapter 2: Design - Digitize

Model refinement process from the initial form to the final

Virtual Environments

Digitation

2D Elaborations

Experimenting with the various types of 2D panelling

Chapter 2: Design - Digitize

The purpose of this 2D elaboration is to find the most perfect 2D panel that suit my model best so that I can use it as a reference when doing my custom 3D panels.

I learned how each pattern influences the whole shape of my lantern. It is really important to use a paneling system that suits your shape congruously. This demonstrates the limitations in paneling that commonly occurs when constructing a complex shapes in rhyno.

I thought that the TriBasic 2D panel suits my lantern shape best. There were no points that are left untouched with the Tribasic paterns unlike the other 2D patterns.

TriBasic is basically, a joint of two triangles, which creates a squarelike surface. The joining of these two triangles produces the â&#x20AC;&#x2DC;locking tabâ&#x20AC;&#x2122; system, making it a strong. I thought that Tribasic will be a good base shape for my custom 3D panels where there are diveristy of triangular openings.

Triangular openings and cutouts have been a popular choice of panels in this subject. I thought that having a tribasic shaped panels will make my lantern unique and personal. Throughout the process of digitazion, I used the Tribasic pattern as my reference for 3D paneling.

Virtual Environments

Precedent Recognition

Diploid Lamp Series

Fig 5.1 - 5.3 (left to right)

Diploid Lamp Series (2009-2010) - Matsys. These digitaly fabricated lamp series (fig 5.1, 5.2, 5.3) have flowy surfaces, just like how I want my latern surface to be.

I really like how the flow of the shape influences the flow of the light throughout the lamp. The Diploid lampsâ&#x20AC;&#x2122; light paneling patterns are inspired by nature such as scales, honeycombs, and barnacles. The shape of the lantern and the 3D paneling patterns goes perfectly in harmony, creating this very strong and unique vibe. The new Diploid B lamp (Fig 5.4) is actually fabricated entirely without a glue. Every connection is a locking tab that enables the lamp to be built quickly despite the nearly 1000 parts. This will definitely result to a more neat and clean lantern.

Fig 5.4 Chapter 2: Design - Digitize

Virtual Environments

Digitation

3D Paneling Elaboration - First Try I went with my intial variable paneling patterns (Fig 6.1) to see how it will work on my shape using the 3D custom variable paneling tool command.

With the offset, I set up the pointattractor to create an asscending effect of the thigmonasty. Unfortunatelly, it does not go well. It looks problematic, unachievable and ‘bizzare’. I could not really see the different openings that are supposed to be the uniqueness of my paneling patterns unless I zoom in and look at my lantern at a closer distance.

Fig 6.1

Moreover, my model also became very heavy, causing the rhyno software to lag. I also found out that there is another problem with this paneling method, the edges of triangle does not seem to stick together (Fig 6.2). At this stage, I did not realized that the edges of the 3 sides in a triangle did not stick together. There are no ‘locking tab’ system that could hold these triangles together. Thus if I continue with this panels, I would not have a whole triangle but three separate triangular bases instead.

Fig 6.2

Chapter 2: Design - Digitize

Virtual Environments

Digitation

3D Paneling Elaboration - Second Try

Fig 7.1 After the problematic outcome from my first tryout with implementing the 3D custom panels on my surface, I thought about the Tribasic 2D patterns. I decided to stick two triangles into a square to create a locking system between the triangles. I made another set of patterns using the rotation and mirror tools from rhyno to form the TriBasic shape (Fig 7.1). Like the first try out, I used the 3D custom variable paneling tool with the point attractor at the top to create the asscending effect of thigmonasty associated with my four different panel patterns. I thought I solved the

Chapter 2: Design - Digitize

The moment of truth hit and when I looked closely at the panels, I realized that there are still a lot of gaps between each â&#x20AC;&#x2DC;squares of trianglesâ&#x20AC;&#x2122;. It was clear that my new panels wont work and I had to accept this bitter fact. Furthermore, I thought that increasing the dense of the grid will help me achieve a smoother outcome.

But I realized that increasing the dense of the grid means more hardwork during the fabrication later on because it makes the pattern even smaller. With the condition at that time, I was behind schedule and was still struggling with panelling.

Having something that is extremely difficult to fabricate in the future will not be a wise thing to do. At the end of module 2 when my lantern is supposed to be ready for fabrication, I was left with flaws. I knew at that time that I need to do a lot of manipulation and experimentation to get my paneling patterns to work.

Moreover, I want to make sure that the panels goes in harmony with the shape of the lantern. In addition, a consideration came up to leave some surface at the bottom part of the lantern flat.

Virtual Environments

Digitation

3D Paneling Elaboration - Will my third be a charm?

Module 3 commenced, I tried to do as much explorations as I can to find a solution to my problems. I decided to alter my panels again. I created a panel with similar Tribasic concept in a more simple way (Fig 8.1). With this new panels, I was hoping that the triangles will stick to each other. Unfortunately when I tested these new panels onto the surface, there were gaps here and there (Fig 8.2). This was because the edge points of the triangle which connect it to another triangle was not actually sticking to one another. I still have that problem where I would not have a whole triangle but three separate triangular bases when I unroll them. Furthermore, the panels also does not stick with one another.

Fig 8.1

Fig 8.2 Chapter 2: Design - Digitize

Virtual Environments

Digitation

3D Paneling Elaboration - Grid Dense

With the limited amount of time I have left for this semester, especially the fact that I was still dealing with the defects of my panels, I decided to change my grid dense. I realized that having a grid dense that is too high would give me more trouble during fabrication. Hence, I decided to reduce the grid dense to the amount that fullfils my aesthethic value. I still want a grid dense to be between 10-15 because each segment of a shy princess leaf is divided in approximately 10-15 pairs of leaflets.The new grid dense that I use is 10 by 10. With this new grid, I think my surface shape looks interesting in a way that it gives this sense of antiquity and at the same time it still represents the thigmonasty process in a Mimosa Pudica plant. Furthermore, I also think that with this new grid my surface shape still looks pretty smooth.

Chapter 2: Design - Digitize

Virtual Environments

Digitation

3D Paneling Elaboration - The Experiment Continues...

To solve the problems that had been occuring to my panels, a suggestion came up that I should put a frame around my triangles. Hence, there is that locking system which holds the triangles and glues the panels together. I tried the new panels with the same command I had been using: the custom 3D panelling with point attractor. It was a relieve to see that this new theory seemed to work just fine. There were no gaps and each triangles look like they are attached to one another. Unfortunatelly when I tried unrolling a strip of this new working panels, the triangles were seperated from the rectangular frames.

Chapter 2: Design - Digitize

Virtual Environments

Precedent Recognition

ABC DBAYEH FACADE

ABC DBAYEH FACADE (In construction as of January 2011) - nARCHITECTS. The ABC Dbayeh department store is Beirut’s oldest and most important department brand. The interesting part about this precedent is that it turns various constraints into opportunities. Due to the site context where there is the accending of slope, the project has to deal with this constraint. This project creates a cohesive assembly of disparate parts: four volumes step down the sloped site, terminating in a backlit laser cut aluminum screen on a prominent highway bordering the Mediterranean Sea. Furthermore, waste from the aluminum cut-outs on the westernmost volume is being used as a cladding element throughout the remaining three volumes. This definitely explains how we can be so much more environmentally sustainable in the world of architecture today. We can reflect this in terms our project by recycling the leftovers papers from our fabrication for artworks or draft printing.

Chapter 2: Design - Digitize

The following precedent and my lantern model has a similar patterns of panels in terms of the asscending opening of the 2D triangular panels. It is also similar in a way that the distribution and the placement of each specific panel pattern for this precedent is completely controlled according to the designer’s own aesthetic. To stick with the 3D panels that I want and have it work eventually, I had to go through a long process where I had to face different problems and tried different methods.

With presistence, I was able to turn various constraints into opportunities. I learned that sometimes you have to look things in a different view to able to overcome the constraints and problems which you face.

To get my panels working, I had to view my 3D panels through a 2D perspective.

After this long process, I was finally able to have my panels to unroll successfully. I think that it is very important to be able to “[turn] various constraints into opportunities” in the world of design.

Virtual Environments

Remodeling

Panels

The Evolution of Panels

Chapter 2: Design - Digitize

Virtual Environments

Remodeling

3D in 2D Perspective

I was determined to take as much opportunities as I can at this stage to save time and prevent undesired faults and bugs when unrolling and fabrication. I created a 2D version of my 3D panels to be able to make it work. This way, it would be much easier for the unrolling process to be done rather than sticking to the 3D form of my panels. I tested it onto my 3D lantern surface with the custom variable panelling and point attractor functions. Although it means more work on rhyno, it will give me more time in the future to fabricate my model and do any changes if needed.

Chapter 2: Design - Digitize

Virtual Environments

Remodeling

Unrolling Issues

On the process of unrolling based on individual strips, I found out that the panels are not exactly joined to together. As you can see from the pictures above, there were cracks, gaps and the overlapping of one panel to another.

Chapter 2: Design - Digitize

Virtual Environments

Remodeling: 3D in 2D Perspective

Approach to Unrolling Issues

This was my attempt in solving the defects. I rejoined the points which are overlapped and seperated with the â&#x20AC;&#x2DC;edit points onâ&#x20AC;&#x2122; function.

I started by seperating the models into 8 horizontal strips and 1 seam strip and rejoined each deffected points before unrolling the strips again.

Chapter 2: Design - Digitize

Virtual Environments

Remodeling: 3D in 2D Perspective

Unrolling Defect: Unsuccessful Approach

Fig 9.1

Fig 9.2 Chapter 2: Design - Digitize

Fig 9.3

When I tried unrolling the strips which I had manually edited, there were still numerous tiny gaps and cracks on my panels (Fig 9.1, 9.2).

The technique that I used previously tried is clearly not applicable.

Although I attempted to â&#x20AC;&#x2DC;fake itâ&#x20AC;&#x2122; by creating additional surfaces on these gaps, I eventually decided that it was just too time consuming to do. I just had to find another solution for it. Upon questioning the tutors during the help session as to why this defect occurred, I was told that it may be due to to a slight height difference among the tiny triangles (Fig 9.3). I tried approaching this problem by the placing points at the same height, however it wont let me unroll the panels afterwards. The tutor and I were sure that we did things correctly. It was concluded that it may be due to the bug that Rhyno 5 has.

Virtual Environments

Remodeling: 3D in 2D Perspective

“Fall seven times and stand up eight.”

Still with the concept of 3D in a 2D perspective, I constructed a whole new set of 2D panels made from curve lines on separate surfaces.

This new approach involves unrolling the colour coded 2D ‘meshed’ Tribasic strips and lofting it into surfaces. By using the command ‘flowalongsrf ’, the respective 2D panels are planted onto my lofted strips. The advantage of this method over the point attractive function is that I can control the placement of each panel patterns referenced by the diagram I created during module 1.

Chapter 2: Design - Digitize

Virtual Environments

FABRICATION

Fabrication is the process of taking your design into further step. It is a step by step procedure ofmodel construction from nesting, printing, material selection and model making. Material selection and the choice of fabrication technology determines the posibilities, as well as constraints, of design construction.

Virtual Environments

Unfolding

Construction Guide

03 01

07

02 04

05

10 08

06 09

Chapter 3: Fabrication

11 12

Virtual Environments

Unfolding

Nesting and Printing

Printing layout of prototype

Printing layout of final fabrication Chapter 3: Fabrication

Virtual Environments

Prototype

Construction

The process of fabricating my first prototype Chapter 3: Fabrication

Virtual Environments

Prototype

Outcome

Fig 10.1

Fig 10.2

Fig 10.3 The fabrication of my protoype went well, however there were a lot of imperfections which I need to improve on. Some parts were missing (Fig 10.1), some cracked (Fig 10.2) and some were torn (Fig 10.3), Upon questioning the fablab staff members to why this happened, they said it is due to the common problem of ‘duplicated lines’. I am not sure why this happens as I have removed the duplicated lines through the command ‘seldup’. The fablab then told me to ungroup all my lines to be able to do the command ‘seldup’ properly. I chose double tabs because it creates a stronger locking system. During the experimentation with the single tab system, I thought that the tab shadows end up making my model look to ‘crowded’. As I want people to pay attention to the details on my lantern, I decided to go with the double tab connections to get rit of the tab shadows. I also realized that Ivory card is not the best paper to use for my model because it rips easily and is quite filmsy. I needed a thicker paper with the perfect rigidy for my final model. After seeing the burning marks created by the laser cutter on my prototype, I decided that I wanted my final model to be cut with the card cutter to obtain a cleaner look. I also needed to rescale my nesting file to make sure the model fits on my wrist.

Chapter 3: Fabrication

Virtual Environments

Precedent Recognition

- C: Flylight

Flylight (2007) - Design Drift. FLYLIGHT is an interactive light installation artwork made of around 180 glass tubes. The glass tubes will light up in respond to the viewerâ&#x20AC;&#x2122;s movement. FLYLIGHT is inspired by the behavior of a flock of birds and the fascinating patterns they seem to make randomly in the air. This project captures the concept of an intruder interrupting the flight of the birds. The lights can see their environment through sensors that translate the information into a computer simulation, which then drives the electronics of the lights. Here, the light moves in coordination to the userâ&#x20AC;&#x2122;s movement. Just like this precedent I am trying to capture the effect of a specifc natural process through lighting design.

Expressing the effect of thigmonasty on a Mimosa Pudica plant through both the shape of my lantern and the distribution of light in my lantern are my aims for this project. Although the use of sensors could further enhance the thigmonasty effect on my lantern, the amount of time given for this project made it hard for me to conduct a further research on this.

Chapter 3: Fabrication

Virtual Environments

Final Fabrication

Construction

Construction process of my final model

Chapter 3: Fabrication

Virtual Environments

Final Fabrication

Difficulties encountered during final fabrication

As I said before, I wanted my design to be printed with card cutter intead of the laser cutter. Unfortunatelly, the fablab staff member told me that my lines are too delicate to be cut in a card cutter. The laser cutter is more suitable for delicate lines because it creates finer cuts and less vulnerable to ripping. I did not want to risk it and decided to go with the laser cutter.

My decision to use water colour paper is firstly because it has a unique texture to it, grainy like the surface of a leaf. I also chose the right water colour paper with the right weight and thickness because it has to be thicker than the ivory card but thinner than mount board. Although using water colour paper made the process of folding harder, the texture and the rigidness of the paper pleases my aesthethic. One of the problemsthat I encountered on this final fabrication is the tearing of paper (Fig 11.1). To solve this I coated the torn parts with a mixture of glue and water (Fig 11.2).

Fig 11.3

Another problem I encountered is that I seemed to forget to include one of the strip that during re-scaling, hence I could not use that strip for my final model because it is out of size (Fig 11.3). Fortunately, I had that strip duplicated with the right scale. However, I had to manually draw the panels and cut it myself (Fig 11.4, 11.5).

Fig 11.4

Fig 11.1

Fig 11.2 Fig 11.5

Chapter 3: Fabrication

Virtual Environments

Final Fabrication

Chapter 3: Fabrication

Virtual Environments

Final Fabrication

With Acrylic Spray Paint

To get a cleaner and polished look, I decided to lightly spray my model with an ivory coloured arcylic spray paint.

Chapter 3: Fabrication

Virtual Environments

Final Fabrication

Chapter 3: Fabrication

Virtual Environments

Final Fabrication

Chapter 3: Fabrication

Virtual Environments

Final Fabrication

Chapter 3: Fabrication

Virtual Environments

Final Fabrication

Chapter 3: Fabrication

Virtual Environments

Final Fabrication: Post Exhibition Pictures

Chapter 3: Fabrication

Virtual Environments

REFLECTION

A critical conclusion to the learning outcomes of this subject and its relevance to my further studies and future.

Virtual Environments

I have learned so much from each of the four modules in this subject.

The process of ideation has really helped me in becoming more abstract towards my design. I have been critiqued previously for being â&#x20AC;&#x2DC;too literalâ&#x20AC;&#x2122; in my designs a couple of times during Designing Environments last semester. One of my aim this semester and towards the rest of my study period is to be critical and open minded as possible. By this, I mean to be more innovative and abstract in my analogy and designs. Virtual Environments has been a huge help to me, as I seem to be able to get rid of my literal perception.

Due to my lack of knowledge on 3D softwares, my process of digitazion did not went as smooth as I wanted it to be. Problems after problems rises as I tried to fix my 3D panels and unfold my model on rhyno. However, with presistence, I pushed myself agaisnt the difficulties that I had to face. I thought that I brought myself to that situation, thus I had to be able to find the way out. After a repetitive process of analyzing problems, creating new panels, testing new theories that may not work all the time, I succeed in the end.

I managed to have a working panel that fulfill my aesthethic as a designer.

I also learn a lot about my strenghts and weaknesses through this subject. It shows me the areas that I have to improve on and the areas that I need to maintain.

I have also gained a lot of knowledge during fabrication. Manual fabrication may not give you the best outcome and the smoothest process. During the manual fabrication of my prototype, I encountered several undesired effects such as the tearing of paper, messy glue, poor paper quality and burnt out effects from the laser cutter. Manual fabrication also takes more time and effort. Nevertheless, manual fabrication allowed me to think of further improvements for my final model. Albeit the fact that it is time consuming, manual fabrication gives you the opportunity to follow up with the progress of your project. This way, you will be able to delve further into your project and think of refinements. This process of critical evaluation of your design process and outcome is crucial when you want to grow as a successful designer because it helps you understand your decisions and aesthethics. Critical evaluation also leads me to understanding the relationship between representations and material realization.

Chapter 4: Reflection

Representations and material realizations is mutually dependent. Different materials requires different way of fabrication for optimum result.

Virtual Environments

In architecture and design, the choice of materials used is important in many ways. Firstly, it has to satisfy the designer’s aesthetic. Secondly, it has to help the design in conveying it’s idea or theory. Thirdly, it has to contribute to the design’s function. The materials used has to be in consonance with the fabrication method so that the design will be able excel it’s purpose. Material is crucial in terms of the design’s presentation and a good presentation will make the design stand out.

KUKA KR16-2 (Robots in Architecture)

This leads me to the question: Will your design process change if there is a particular machine? If yes, how would it be changed?

It will definitely be changed. In particular to my design, I thought that if I have the access to the KUKA robot and 3D printer, I can gain several advantages. (Robots in Architecture) With the KUKA KR16-2 parametic robots, the process of fabrication could be faster and more precise in terms of measurement rather than manual cutting or laser cutter. I believe if I have get the chance to work with that parametic robot, my model will be definitely be more neat, strong and polished. Kuka is also capable of dealing with heavy and dense materials such as metal and wood. With this advantage, I could experimented with different kinds of materials other than paper and cards and see which suited my lantern the most. In terms of the 3D printer, I could also achieve a neat and flawless outcome with precise measurements. (Design-Milk) It amazes me how some 3D software can help in fixing the problems in some files, making the process of designing easier. Moreover, 3D printing also gives a wider opportunity in material exploration such as using pastel palette of ceramic, waxes, acrylic and resins. From several guest lectures I also learned Complex angles such as hollow parts that could not possibly be made by hand in such a smooth outcome are also possible using design robots and 3D printers.

In addition, not only that I was able to explore my aesthetical values but I also discovered my new found interest for interactive architecture through this subject. I am fond of designs which have stories behind, it creates that sense of connection between the designer, the design and the audience or in some cases it can be our clients. This clearly explains why I am drawn to interactive architecture.

Chapter 4: Reflection

The critical process of analysing and evaluating taught in this subject is the foundation to innovative thinking. I find this really useful for my future studies and career as an architect.

3D Printing (Design-Milk)

Virtual Environments

Module 4 Arthur Wen-Jun Wei Student no. 555279 Semester 1 2012 Lyle - Group 16 ENVS10008

Chapter 1: Ideation

Natural Process: Droplet

I was interested in the cylindrical shape that formed by the afte effect of a droplet.

The first clay model was created based on the interpretation of final stage. However, the outcome was uninspiring and lacking in vitality.

I turned to the prescribed reading - The Man Who Loved Fluids,

â&#x20AC;&#x153;The desire to look through nature and find its underlying form and structure is what chracterizes the formation - Ballâ&#x20AC;?

I realized the approach was ineffective, as it focus on imitating the shape of natural process rather than analysing the mechanisms behind.

Chapter 1: Ideation

Concept 1: Dynamics of Waves

Above: Time Vs Dynamics Of Waves As time elpases, wave will continue travel but never change its initial shape and wavelength. It only transfers energy but not medium. In addition, each wavelike motion together are like layers.

The approach was altered to explore mechanisms instead of imitating shapes.

Above: Timelapse Of A Particle During Ocillation Every wave transformation is generated from its origin, it ends at where it begins as shown the particle in fact moving vertically.

Chapter 1: Ideation

Modeling: Dynamics of Waves Transformation: Dynamics (Part 1)

Transformation: Layers (Part 2)

• Wave never change its initial shape and wavelength Model was created in the form of strips, the gap between each strip maintains the same.

• Every wave transformation is generated from the origin Merging strips with the same conjunction. Join two conjunctions to form one origin.

• Amplitude decreases gradually as energy depletes The width represents the time taken to osccilate. The length represents the amount of energy.

• It does not transfer medium but only energy The expension of strips conveys the transfer of energy.

Logner Greater energy Wider - Longer time taken to osccilate

Shorter Smaller energy

Use of strips is effective to convey the wavelike motion of layers.

Narrower - Shorter time taken to osccilate

Chapter 1: Ideation

Concept 2: Inteference of Waves wa ve d

ct

io n

wa ve d

ire

c ti

on

ire

Above: Inteference pattern Observation on the inteference of waves from two droplets.

Above: Alternative approach Observation on the interference of waves from parallel waves.

Transformation: Inteference Pattern Finding patterns formed by manually curving the model with intersections of parallel waves.

Right: Precedent Recognition This approach was inspired by the ceiling of Junior Common Room at International House. Imagine those holes on ceiling as intersections of two parallel waves, the wavelike surface changes the pattern.

Chapter 1: Ideation

Transformation: Infinity In order to communicate the inteference pattern, I attempted to distort its form, which ended it up with the geometry - Infinity.

Above: Precedent Recognition The conceptual idea - Infinity was from the lecturer’s methematical art project, Henry’s MÃbius strip. His model has an unknotted loop that can be deformed into a circle. The boundary of the strip is the circle in the middle, and the surface “goes through infinity”.

Left: The geometry was developed into the shape of infinite symbol, which extended the curvy pattern of wave inteference and the concept of infinity.

Chapter 1: Ideation

Concept 3: Collision of Droplets Second droplet drops First droplet drops Second collision (more explosive)

First collision

Rest

Above: Interpretation of the journey of particles during the collision of droplets Second collision: Second droplet colliding with aftereffect of first droplet First collision: First droplet bounces up forms cylindrical shape due surface tention of water

Chapter 1: Ideation

Above: Plan view Taking plan view enables illustrating the horizontal relationships of what we see or envision. As both collisions of droplets happen in the same space along the same vertical axis, plan view allows its journey to be displayed on the same axis along horizontal axis.

Chapter 1: Ideation

Further Development: Dynamics of Waves Left: Extention of shells into full rotation This approach incorports the last mechanism that has not been addressed - “At the same origin, it ends at where it begins”.

“Painting is a work not of imitation but invention”- Leonardo.

The concept 1 is chosen for the further development because it better resembles mechanisms of the natural process.

Critically, this model might be unlikely to digitalize due to it complexity. For modelling purpose, the model would be claied with simplified smooth surface. To compensate the loss of original appearance, by using panelling and lighting techniques.

Precedent Recognition: Kinema Pendant Luminaire This was inspired by the movement of crustaceans; a wide variety of forms can be created by arranging the pendant’s rings in alternating open and closed positions.

The lighting object uses a combination of different layers to create a specific effect and appearance, which inspired me the solution of using panelling and lighting effects to compensate the loss of mechanisms that my model present.

Chapter 1: Ideation

Chapter 2: Design

Digitization: Tracing sectional slices

Alternative Approach: Modeling directly in Rhino

Curved surface makes contouring process difficult.

The resulted opening areas on two ends do not match the physical model, fails to convey mechanisms of the natural process - Dynamics of waves.

I look back at the initial form of the model where each paper strip is connected into layers, which hints me a possible solution by directly modeling the model in Rhino using command - InterpCrv to draw curves with respect to the constant interval.

Using command - Rotate 3D, each inteval is increased by 2 cm in total height of 40 cm. Each curve is roated by 18 degrees in total of 20 curves, which makes a complete circle of 360 degrees. This conresponds to the mechanism that â&#x20AC;&#x153;At the same origin, it ends at where it beginsâ&#x20AC;?.

Chapter 2: Design

Panelling: Experiments Choosing Diomand panel as the base for elaboration because the appearance extends the conceptual idea further. Dynamics of wave is communicated through the transformation of diomand panel, where the identical spiky shape conveys that wave never change its initial shape and wavelength, and reduction in the size conveys that amplitue decreases gradually as energy depletes.

Precedent: La Fabrique Sonore

Recognition: Triangular panel

Application: Triangular panel

La Fabrique Sonore is relevant to this subject for methods and materils used. It composite of aluminium & polyethylene that combines computational design techniques with ancient paper folding techniques.

Transforming the diomand by integrating the triangular panel (La Fabrique Sonore) to a further extent, by pyramid into 3D. The approach by using pyramid not only ensures the stability of the structure, also allows me to think out of the box whereby altering the pattern of geometry while mainting corresponded conceptual ideas still.

The structure is composited of basic triangular panel in forms of pyramad and is able to support a 345 cubic-meter suspended structure, which inspired me to explore the power of basic geometry, using triangular panel increase the stability of the model.

Chapter 2: Design

Precedent: Corcoon Lamp

Recognition: Lighting characteristics

Application: Lighting characteristics

The Cocoon is in a form of shell that inspired by the metamorphic behavior of insects. This precedent recongnition is a signifiicant source of the lighting effect that I would like to achieve. A linear elements applied around the luminaire not only assure protection of the shell, but also enables users defining different positions to create desired optical appearance. the ability to give users to control lightâ&#x20AC;&#x2122;s character to match the mood of environment, is the ultimate outcome that I would like to achieve onto my final design.

Offseting borders with point attractor to adjust the hole size relative to the panel size. This corresponds to one of the mec anisms - Amplitute decreases gradually as energy depletes.

Further, this approach enables the lighting effect of through reflective surface, light would go further into the space and provides desired color contrast.

Chapter 2: Design

Final Digital Model: Rendered View

LHS

Above: The structure of LHS differes from RHS. When installing the light system, it would give the ability for users controlling the light’s character to match the mood of environment.

(Application of precedent ecognition: Corcoon Lamp)

RHS

Mechanisms vs Digital Model ‹ Wave never change its initial shape and wavelength

‹ Amplitue decreases gradually as energy depletes

‹ Every transformation is generated from its origin

Chapter 2: Design

Final Digital Model: Orthographic View Top

Front

Left

Right

Chapter 2: Design

Chapter 3: Fabrication

Challenges: Refining model

Refining I: OffsetBorder sizes OffsetBorder with distance of max = 3 cm & min = 0.1 cm resulted fine eduges, the model was unstable. The width needed to be at least 1 cm to attach to taps.

Refined Model: OffsetBorder with distance of max = 2 cm & min = 1 cm.

Refining II: OffsetBorder - Point attractor Initial position of point attractor was placed inside the model, creates offset borders in a incompleted full rotation Refined Model: New position of point attractor is placed outwards.

Chapter 3: Fabrication

Original curve Duplicate Original curve Inward Offset curve Outward Offset curve

Refining III: Stability of structure

Above: Curves for lofting

These interfaces join two sections together. But only edges are being attached, which makes it unstable.

The structure has potential to collpase.

Curves are offset both ouwards and inwards as creating two substructures to improve stability of the structure.

Above: Two 3D Triangular substructures

Another purpose is to utilize upper substructure as the base for light sources. The lower substructure ensures the stability of light system.

Chapter 3: Fabrication

Fabrication: Unroling & Labeling

R20 L20 L1

R1

Modeling: 1:5 Partial prototype Glue

Double sided tape

Left Top Substructure (LT) Left Bottom Substructure (LB)

Using glue leads to utidy and messy outcome at tips. Using double sided tape is more effective.

Double sided tape

Transparent tape

Bottom Substructure

Right Top Substructure (RT) Right Bottom Substructure (RB)

These segements have small tapes that thed to break off. Using transparent tapes directly increase the stability.

Chapter 3: Fabrication

Modeling: Light Source

Precedent Recognition: Suspended Luminaire

This suspended luminaire is in features of blades and long snake-shape LED, which is inspired by the deep space creature from the dark space. It intends to explore designs that beyond the usual scope of trends and patterns.

In parallel: LEDs are connected in parallel as to reduce the total load of cells on the model. It only needs 2 AAA baterries to light up 10 LEDs. It needs 20 LEDs for my mdel.

This precedent is a significant source of concepture inspiration the lighting effect. The suspended sculpture is composed of thin strips of aluminum and powered by a snake-shaped LEDs, alternates between light and shadow.

Its continuous exploration of patterns and light source seemed to creating the impression of a moving organism.

Chapter 3: Fabrication

Modeling: Final prototype

Chapter 3: Fabrication

Modeling: Lighting effects

Precedent: Water Cathedral This is caused by the thickness of irovy card.It is not able to fit all segments to the center which is an imaginary tiny point.

Recognition: This has a large wooden roof with openings that brings in abundant amounts of dayligh. Light sources are installed underneath the triangular structure forms inner glow lighting effects. This inspires me on how to function the light sources in my model. Lighting effects are not restricted only to light ejection, but also the reflection within model which forms inner glow effects on interface of each segment.

Precedent: Middelfart Savings Bank in Denmark

Recognition: The horizontal nave of Water Cathedral is made of numerous vertical components with vary in height and density. Its formation is similar to the composition of the center of model.

By looking at how sunlight is passing through its center and forming condensed lighting effect, it inspires me a solution for untidy appearance of the model. Transforming this weakness to strength whereby the condensed lighting effect conveys the explosiveness of droplet when colliding with the water surface.

Chapter 3: Fabrication

Further Development: Pillars

New Lighting system

Pillars are built undernearth the model, which increases its stability to ensure it does not collpase. They are created out of wasted fabricated irovy cards, so wasted areas are recycled.

Desired Effect: As this model has contrastive presentation in form of shape - LHS (aggresive) & RHS (ressecive). I decide to follow up this with lighting effect. LHS with recessive lighting effect while RHS with aggressive lighting effect. This way, it results a more balanced lighting effect.

Chapter 3: Fabrication

Critical Analysis: Conceptual Ideas - Dynamics of waves < Wave never change its initial shape and wavelenth This is conveyed through identical shapes of each triangular segment

< Every wave is generated from its origin This is conveyed through formation of segments that rotates around the center

< Amplitute decreases gradually as energy depletes Gradual reduction of amplitute is conveyed through systematic reduction of the size of segments. Gradual reduction of energy is communicated through lighting effects whereby the amount of light emiting through holes on each segment.

Everyone needs a home It needs a stand!!!

Chapter 3: Fabrication

Chapter 3: Fabrication

Final: Reflection

â&#x20AC;&#x153;As digital techniques become more sophisticated, there will be new tendencies away from the abstraction of earlier models towards a real-world rendering of the actual and the existing, producing more unique works, (Macfarlane, 2005).â&#x20AC;?

The impact of contemporary digitalization is undeniable. The new tool gives new ways of seeing, almost to the point where one can think digitally. With these application and implication, I found myself completely liberated and conceptually freer to explore the virtual world.

Throughout this course, I gain confidence and accomplishment from being able to itentify weakness of the model and state appropriate strategies such as using substructures and pillars to improve the stability of the model. This allows me to think and visualize as an architect.

Chapter 3: Fabrication

Virtual Environments

MODULE FOUR Winney Zhao 558552 Semester 1/2012 Group 15

IDEATION

Virtual Environments

Pencil sketch of an adult fly

Analytical Drawing by Bella Ulmann-Broner depicting a bycicle supported at the rear end of a stool.

Pencil sketches of early ideas - the fly wing

The Fly Wing My initial idea was to investigate the life cycle of the house fly. The reason for me to choose the House Fly was that it fully disgusted me, yet I believe it was worth to explore although it is not a pleasant insect; I think we can still find the beauty within it. Interestingly, the structure of its wing fascinated me because of its complex structural patterns. It was decided to use the wing of the fly to develop into a design.

I was inspired by Wassily Kandinsky's method of analytical drawing- an investigation of the structural relationships among objects where it involves simplification, analysis and transformation of the graphic characteristics by motifs. Pencil and marker pen sketches were generated to explore the concept of strength versus flexibility using Kandinsky's method. The original shape of the wing had been simplified, fragmented and geometrically abstracted.

Marker pen sketches

MODULE ONE

IDEATION

1

Virtual Environments

A wing placed above a dark surface, rainbow colours appear spectacularly.

(Shevtsova et. al 2010)

Water colour sketches

Personal investigation upon Thin Film Interference using soap, Rainbow colours appear in the same way as the colours on the wing.

Natural Process - Thin Film Interference One interesting property I found about the wing of the house fly was that they express colours although they appear transparent. This phenomenon was known as the Thin Film Interference. It is a physical process which vivid colours are produced by reflected beams of light rays strike upon the membrane of the wing. The variation in the thickness of the membrane gives off different colours. These colours are regarded as â&#x20AC;&#x2DC;structural coloursâ&#x20AC;&#x2122; and can be better seen under a dark surface (Shevtsova et. al 2010).

Having understood the idea, I did a test by using soap bubbles to see if this happens to be the same elsewhere. Outstandingly, rainbow colours were seen as light rays pass through the soap layer. I have therefore used the curvature of the colour strips to generate concept designs using watercolour.

Design chosen for further development

MODULE ONE

IDEATION

2

Virtual Environments

Art exhibit in Munich, photograph obtained from Morfes.

Ins piration - Optical Art It mademe thought of Op art while observing the colours on the bubble because both had to do with the idea of seeing and understanding. I have researched for the techniques of Op Art. Op art short for Optical Art is a method of painting where it plays with illusions and fool or to confuse the viewer. Op artists concern the interaction between understanding and seeing.

The aim of Op art is to use compositions to create visual tension, where drawings in 2D representations appear to move or in 3D to the viewer.

Technique: use repetition of simple geometric shapes, line in high contrast black and white and manipulate positive and negative space.

The development of my design was based upon the techniques of Op art.

Untitled Diagonal Line - The application of monochromatic colour and the ultimate complexity of the waves confuse the eye where we see these patterns moving.

Movement is created successfully in this 2D plane.

Op art installation - This optic installation was delicately designed in a twirling form where I was fooled thinking that it is structured with two distinctive stairs that it seemed to continuously move with each other. The stairs is actually connected entirely connected bottom to top. The elegance of the curvature is much appreciated which I have adapted curves into my wing design.

Untitled Diagonal Line Rigid Bailey 1988

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IDEATION

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Virtual Environments

The Op Wing The final design is based upon the wing and I have used the example of op art installations to further inform my design. The final design was established after many trials and experiments with plasticine. The concept behind this idea is to have belief in self. It was thought to be worn on the shoulder to respond to this idea.

MODULE ONE

IDEATION

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Virtual Environments

How do forms and contexts (of use and resources) influence each other?

It is important to define and describe the two main terms, form and context first. In terms of form, it is described by Ball (2011) that “form is an individual affair… the characteristic shape of a class of objects.” Form is a visual appearance, an outline of a shape which in the context of module one refers to the final design represented by the plasticine model. In terms of context, I describe it as the task given which includes research, forming ideas and developing ideas; it is a framework.

How does context influence form?

Inspirations from research and development of ideas directly influence the outcome of the design. This involves the process of analyzing context, understanding then applying to the design (Dave 2012).

Extracting from the reading ‘The Shapes of Things’ – “Many of the most striking examples that we encounter around us are evidently the products of human and minds - they are patterns shaped with intelligence and purpose, constructed by design.” The design of the form involves human intelligence which we decide what is being used and how it is created. We document, analyze, image and explore with models, we also used different media to represent our idea. I explored with the structural patterns of the wing of the fly and used it to inform the final shape.

How does form influence context?

For the purpose of generating ideas, by examining the form of the chosen subject gave rises to an alternate context, e.g. by studying the fly wing gave me the inspiration of looking at op art. Having a chosen subject influence the design idea which sets the context for how the design is used and idea behind it.

The Münsterberg figure.

Form influences context influences form In module one, I chose to explore the structural pattern of the fly wing (the decision influences the outcome of the form), followed by research upon its physical characteristics which gave me the inspiration to further research on op art (form influence context), the final design was influenced by optical art.

Precedent 1010 Latrode is an example for how op art is adapted into modern architecture. This eight storey façade building is a reconstruction of the Munsterberg illusion (Heagney). Our eyes are fooled by the zigzag lining of the black and white squares to believe that the building is built with sloped layers where actually the orange lines are horizontally laid parallel to each other. MacDougal (planner) says:” The challenge is to make them look like something they are not, or given them aspirations that’s greater than purely pragmatic, but still remain in a commercial framework.” Macdougal spoke about the context of the design of the building, which the process is similar to our project, where we are challenged to design a lantern with a form derived from a selected natural process or structure.

1010 LaTrobe

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DIGITALIZATION

Virtual Environments

Plasticine cut into eleven pieces

Contouring

Final Form

Process of refinement Contouring Transferring the physical form into digital model was essential for further development. Contour methods were used to achieve this. The model was cut into eleven pieces, 5mm in height and placed upon the 5mm grids, this was then transferred into Rhino and the digital model was constructed by using the loft command. The virtual model was badly distorted. The final form was finally established by a long process of trials and failures.

MODULE TWO

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3D Custom Paneling

Paneling experiments Paneling tools allow a wide range of variety. I have experimented a range of different paneling designs with preset 2D paneling and 3D custom paneling. Through these experiments I realized that my model form cannot adapt complicated panelling designs because faces self-intersects at the curvature.

MODULE TWO

2D Preset Paneling

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Painted floor of sunshine city in Tokyo

image via: Travelblog and ASL Module design â&#x20AC;&#x201C; inspired from op art patterns To design the module for paneling, I was inspired by the cuboid pattern being used in public architectures. From research, the painted floor of Tokyo's Sunshine City shopping center depicts the tessellation of the cuboid, the light, grey and dark faces oberseved from a 2D plane produces a 3D effect to the viewer. Additionally, with regards to the image on the right, ancient Romans applied knowledge of optics and perspective to create the amazing optical illusion mosaic floors.

Architects of both examples have used optic patterns which created a 3D effect from a flat plane.

For my module design, I wish to create a geometrical shape that appears to be like a cube, it could be in illustrated in 2D or 3D. Considering light and shadows, this could be adopted as opening and closed spaces, such that the dark planes could be an opening space.

MODULE TWO

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Virtual Environments 3D Custom Paneling

Combining two different modules

Obvious cuboid effect, but there were excessive self intersect at curvature. The design of the module was too complicated to fabricate.

Obvious cuboid effect, but excessive small faces which would be difficult to fabricate.

Plan A

Plan B

2D Custom Paneling

Module at various heights

Obvious cuboid effect, easy to unroll and fabricate.

Details of the overall form was lost, lacked irregularity, no opening spaces, no cuboid effect.

Plan E 3D Custom Paneling + various heights + Openings Plan C

Plan D

Finalization The relationship between designing and fabrication was explored, which five plans - A, B, C, D and E were generated. The aim was to develop a plan that best correspond to the op art ideals that is regularity, repetition and the use of positive and negative space to create an optical illusion of the cube. Plan D was chosen to make the first full scale prototype because it was thought to be the best to reflect a 3D effect from 2D paneling. Plan E was the final plan; it was developed to solve the problems experienced in other plans such as self-intersections at the curvature, regularity, unrolling issues and complexity.

The entire model was panelled with varying levels of height and then reassembled with tallest panels to the bottom. The model was enhanced with openings by to emphaze the appearance of the cube as well as adding visual interest.

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Virtual Environments

Plan

Left-end Elevation

Main Elevation

Right-end Elevation

Orthogonal Projections

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How do different media support different kinds of design inquiries and refinement?

Different media support different kinds of design inquires and refinement in various ways. For example, drawings by hand represent basic design ideas; this could be expressed as pencil sketches, marker pen drawings or paintings. Drawings allow explorations of different shapes or patterns which enable design trials, development and refinement. The limitation with hand drawings is that it is very difficult to represent complex designs, it is also time consuming. I have used pencil, marker pen and watercolour to sketch my initial ideas.

When considering plasticine modeling, the advantage with plasticine is that its flexibility allows variations and changes, we can model the form of our model until we are satisfied with it; it is relatively easily to use and can be reused. The form of my design was modeled with plasticine, it allowed me to explore with the form of my design physically as well as to enhance it to look more attractive, yet the disadvantage with it was that it did not give such a clean looking.

Looking at designing using digital software, it is about converting analogue items into digital format. The benefit of using digital software â&#x20AC;&#x201C; Rhino particularly is that it offers many possibilities and opportunities for designing, shapes which was considered to be very difficult to represent by hand could be managed and clearly presented on the computer. After I have converted my physical model onto Rhino, it offered so much variation which I have never thought of. However, the limitation with digital software is the discrepancy between the virtual sample and the real life model; it could appear stunning on the screen yet, could be very difficult to make and may not look as good in real life.

O2 Concept Store â&#x20AC;&#x201C; digital representation

The O2 Concept Store Designed by Jordan Parnass Digital Architecture (JPDA) is an example of how digital software is used in the profession. JPDA is a multidisciplinary practice, combining architectural and digital media design. The company uses computer visualization, digital design, and webbased interactive technologies.

The challenge was to design a Concept Store, JPDA first analyzed the existing store, then worked out proposals and reached the solution; the process is very similar to our project. The main thing I want to focus on is its presentation of using digital software. The proposal is clearly and beautifully presented which is very easily understood. The benefit of using digital software is that not only it saves the money and time for producing such outstanding presentation to the client, it also convenient for changes and refinement satisfying clientâ&#x20AC;&#x2122;s needs.

MODULE TWO

O2 Concept Store

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FABRICATION

Plan D â&#x20AC;&#x201C; unfolding Plan D used 2D paneling which the aim for this proposal was to simplify the design of the model making it easy for unrolling. Plan D was developed from Plan A, B and C where unfolding in these plans were highly problematic. Each strip was colour coded and numbered for nesting and fabrication.

Nesting

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1

2 Printed and cut according to cut lines.

Each strip was fold according to score lines and stick them togethwe according to the labelled layer.

3 One third completed prototype Waste

Plan D â&#x20AC;&#x201C; fabrication A full scale prototype was made to test for structural and light effects, 80gsm white paper was used. The thinness of this material has its advantage of easy folding yet, it was weak in the way that it could be easily ruined or striped accidently. It was also very easy to leave marks or finger prints on the paper which makes the finishing model looking fragile and untidy. The curvature was one of the most difficult part where the faces could were small and had to be bend There were large amount of wastes lefted from making this prototype. From a personal perspective these are not just waste paper, it served its purpose for us to learn and explore, additionally they could be recycled for other uses such as making origami or other models.

Completed prototype

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Full scale prototype The outcome of the prototype was successful in the way that it was able to provide a 3D effect from 2D paneling, the geometry is linear and structured with regularity. The entire model however lacked stability where it cannot stood independently, it also lacked cleanness because the paper used was thin and could be easily damaged. Additionally, the centre of gravity I believe is outside the foundation of this model which this could be also the reason that it cannot stand independently.

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Final Model modification and unfolding To improve the limitations of the prototype, I decided to increase the scale my design to 370 x 240 x 490mm, this was to enhance visual attractiveness and make it easier to fabricate. The design is now a piece of sculpture. The unfolding process was previously thought and planned for each layer to be unrolled into a long strip. Each layer was colour coded and numbered. Each strip was then placed tightly into five pieces of paper to minimize the amount of material used. The data was sent to the fablab and each piece was cut using the laser cutter. White ivory card was chosen, this was because it is harder compared to printing paper which was hope to have better support.

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Virtual Environments

1

2

Materials

3

4

Final Model fabrication The materials used for fabrication were a pair of scissors, a cutter, PVA glue and some clips. The process of making as follows, 1) Cut the strips out from the ivory paper printed from the fablab.

2) Fold in accordance to the scored lines.

3) Glue the pieces together at the correct position according to the pre-numbered schedule (example shows partially complete model).

4) & 5)Work in progress.

5

The most difficult part was the curvature of the form which pieces of paper were in tension and some did not match, this caused leakages. It was also very difficult to stick the tabs together.

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MODULE THREE

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Evaluation of final model I regard the overall outcome was unsuccessful; this was because the model did not convey the cuboid effect, plus the overall form was not stable and the shape is distorted. The full scale prototype seemed more of a success than the final model primarily because we can clearly see the cuboid effect. The solution to this could be to add internal bracings to keep the model in shape; I could also build a structure inside to support the model. To emphasize the cuboid effect, I believe the design should set to 2D paneling.

How do different kinds of fabrication technologies make possible as well as constrain what can be constructed?

Laser cutter Laser cutters works by focusing a beam of light on a focused point of a material and slice it through. A computer system is needed to co-ordinate the machine, commands are given to the laser cutter through software which translates the design geometry to numerical code. The laser cutter can cut thick paper yet it cannot for cutting copper and aluminum because they are too thick and reflect too much light. Brittle, transparent materials such as glass and crystal also cannot be cut with a laser cutter. This limits the variety of materials could be used for construction.

Laser cut model

The 3D Printing Systems The system works by receiving data from computer carves a physical model (often with liquid polymers) directed by the information received; the 2D printing system literally brings the virtual motel to life. It is able to produce extremely complicated designs which are impossible to make by hand. It has the advantage to of speed, colour and affordability and ease of use. The systems offer the opportunity to react fast and to meet customer needs. A model of the arena is precisely represented physically done by a 3D printer.

The constraint with the system is that there is size limit, 3D printers are unable to produce large sized objects due to lack of material strength.

Foam cutting systems The foam carving system is a collection of automated machines that produces sculptures, molds, props and architectural modeling. The process of making basically comes down two four stages, firstly, the model is scanned by a 3D laser scanner that captures a perfect digital replica of the object. Secondly, the details of the object are sculptured by machines on high density foam, for basic and linear shapes, hotwire foam cutting machines were used. Thirdly, the raw foam is sprayed with a plastic-like coating for protection. The last stage is to finish the product by colouring and adding a clear protective coating.

Using digital 3D machines have the advantage of saving time, minimize labour and cost. It boosts it ability of forming replicas of objects accurately, efficiently and with speed. In contrast with hand making (which was I did for this project), it was time consuming and labour intensive, there is also a limit in terms of what we can manually make, for example it was difficult to achieve precision and cleanness when dealing with glue. So the aid of digital machines is beneficial in the way how it has the ability to create and manufacture products at high quality.

MODULE THREE

3D Printed Model

Foam carving machine

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Virtual Environments

How do representations and their material realizations (or insights) may be mutually dependent?

Representations as in the expression of the design could be constructed by different materials. Knowing what materials we are going to use in this project is important for us to design according to the given material, for example our task was to design a lantern using paper, and our design would be different if the given material was wood or fabric. The representation therefore would not be the same. The design (which leads to representation) is depended upon the type of material selected for the task.

Acknowledging the properties of the materials is important in terms of choosing the best to represent the idea, such material realizations determines the quality and the presentation of the concept. In this project I have used 80gsm white paper to construct my first full scale prototype, the main reason for using this type of paper was because of its thinness, I believe light could penetrate through it easily so that the patterns on the lantern could achieve a cuboid effect. The result was that it did achieved my desired effect, yet, this type of paper is not strong enough to keep the form in place plus it was difficult to fabricate because the weakness of the paper was easily smudged and bended.

What about choosing cardboard? I have thought of choosing cardboard because it is harder and thicker, however it would have a poor performance in terms appearance (equals to representation) and producing light effects. This shows the success of representations is depended on material realizations.

Additionally, I have chosen to use white ivory card to build my final model. It is thicker and harder compared to printing paper thus it did a better job in keeping the form in shape. The outcome was much cleaner and at a higher quality. This shows the quality of representation is depended on the insight of materials.

Representations could be presented in 2D or 3D, which the sort of material or media chosen for presentation is of different means. For 2D representations, these could be sketches of concepts, final rendered paintings or orthogonal drawings. Referring to the readings in module one, orthographic views is abstract but is able to show the planeâ&#x20AC;&#x2122;s true shape and proportions in scale, this means representations could be drawn in distinctive methods which require different materials.

In terms of 3D representations, this could be clay works or plasticine, paper folding (origami) or virtual computer) modeling. Again, ideas could be presented using a variety of media. The selection of material can be said to be depended upon what the design is, for example, it would be very difficult to build a skyscraper in detail using plasticine or paper folding, it is likely to be modeled using technology. On another hand, the quality and success of the representation is depended upon the choice of material.

Representation could be expressed through different materials, which each material has its own properties, thus choosing the best material for representation is important for presentations. Representations and the use materials are mutually dependent.

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What are the learning outcomes of this subject and its relevance to your further studies and future?

Process of design One of the most challenging moments was the development of concepts as I felt as if I was lost in a maze. I believe the process of design is almost like a maze. The aim in design is to work out the solution where this is correspondent to searching for the exit in the maze. In the process of walking through a maze, there are always moments where you are lost without direction, just like designing. There are also other times where the path you have chosen did not lead you to the exit and you walk back and search for a different way, this happens to be the same in designing as I went back to the original spot and look for an alternate solution. Very often at the end, the exit is full of surprise. Having the experience of problem solving; the process of working out a solution in designing is very useful for future design studio studies.

Digital software Through engagement within this subject I have developed simple skills for using Rhino. From a complete beginner to a practitioner, I have learnt simple commands in Rhino which enabled me to create forms, design shapes and refine design ideas. The ability of knowing how to use Rhino allows me to step forward closer to the architectural design profession. As the world is rapidly moving towards digitalization, many architectural projects are completed using computer soft wares. Knowing how to use Rhino is helpful but it is more important for me to improve as well as to equip myself with the knowledge of using other software such as autoCAD and Sketchup.

While exploring the virtual world, I realized the differences between the virtual designs and real life models. Designs could be constructed virtually may not be the same in real life situations, for example for my final model I suspect the central of gravity of my form is outside its base, this makes it unable to stand independently, however in it stood perfectly well in Rhino. This tells me that we need to be aware of the constructional principles. Without acknowledging this skill drawed me back from building a self-dependent model. This is important for designing models in the future; the designer is blamed for his or her failure.

Design, modification and fabrication The process of transforming my virtual design to a real life model through digital enhancement was not an easy process. I was required to find the best solution to unroll my design through different techniques. This was about trying to compromise concept its ability to be built. It was important to emphasize the idea of thinking ahead, since the difficulty of fabrication was mostly depended on the form, so we need to think ahead when designing. This was one of the important strategies I have learnt through this subject - to think ahead, this saves time and work load, which would be useful for completing other tasks and future projects.

Overall, the entire project involved planning, conceptualizing, developing, refining and making; completing this subject gave me a valuable experience which the skills I have developed would be useful in the architectural professional.

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3d-printers.com.au (2012) Architectural 3D Printing with the HP DesignJet | 3D Printers Australia . [online] Available at: http://www.3d-printers.com.au/2012/05/04/architectural-3d-printing-hp-designjet/ [Accessed: 1 Jun 2012].

Flickriver.com (2008) GX20 128 Daniel Widrig - Laser cut model - a photo on Flickriver . [online] Available at: http://www.flickriver.com/photos/watz/2226017586/ [Accessed: 2 Jun 2012].

Gregory, R. and Heard, P. (1979) Border locking and the Café Wall illusion. Perception, 8 p.365-380.

Heagney, D. (n.d.) Optic Nerve. Monument Magazine, p.1-11.

Jpda.net (2011) JPDA | Jordan Parnass Digital Architecture. [online] Available at: http://jpda.net/casestudies [Accessed: 1 Jun 2012]. morfes (2011) Optical Illusions in Architecture « MORFES. [online] Available at: http://morfis.wordpress.com/2011/09/05/optical-illusions-in-architecture/ [Accessed: 20 May 2012].

Op-art.co.uk (2012) Op Art History Part III: Origins and Influences on Op Art . [online] Available at: http://www.opart.co.uk/history/op-art-history-part-iii/ [Accessed: 19 May 2012].

Shevtsova, E. et al. (2011) Forget butterflies – wasps and flies have hidden rainbows in their wings | Not Exactly Rocket Science | Discover Magazine. [online] Available at: http://blogs.discovermagazine.com/notrocketscience/2011/01/03/forget-butterflies-%E2%80%93-wasps-and-flieshave-hidden-rainbows-in-their-wings/ [Accessed: 1 Jun 2012].

Zcorp.com (n.d.) 3D Systems 3D Printer Cost | 3D Systems. [online] Available at: http://www.zcorp.com/en/Products/3D-Printers/spage.aspx [Accessed: 2 Jun 2012].