MODULE 2: DESIGN
LIM BINXIU ANGELINE 596462 VIRTUAL ENVIRONMENTS
COMPOSITION STRATEGY Based on last week's work, the three main themes of my design is rotate, growth and overlap. I intend to use rotation in the form of twisting effects to achieve a slight variation in the form. Growth can be exhibited through through a gradual increase in the size of the elements. The overlapping will be explored in the panelling section in terms of shadows. I did some sketches to explore the forms that I can mould using plasticine.
COMPOSITION STRATEGY: There should be an origin point with a spread out and flowy effect (can be achieved through curves). . .
Development of form using plasticine
Sketches to explore composition
DESIGN PROCESS: EXPLORATION WITH PLASTICINE MODELS AND TRANSLATING INTO RHINO I started with the design on the left. It is actually a literal translation of the plasticine models I made in Module 1 and there is too much detailing to be transferred into Rhino. Hence, I came up with another model on the right. I took the largest unit from my first model and rotated and scaled the elements. I tried to model the design on the right using Rhino by creating three different sections and attempting to connect them using the Boolean union tool. However, I realised that this process is too complicated because the cross-sectional areas of each individual piece is different and the angles of rotation have to be very precise. Reviewing my designs, I realised that there were multiple forms involved which is difficult to create. Hence, I decided to simplify my design to just focusing on one form.
Rotation and scaling
Literal translation of form
Attempts in using Boolean Union tool
DESIGN PROCESS: EXPLORATION WITH PLASTICINE MODELS AND TRANSLATING INTO RHINO Extracting a single element from my previous design, I began modelling it. Eventually, I obtained a tubular design, widening at both ends. Although I managed to successfully model it in Rhino, I felt that it did not portray growth because there is just a thick volume and it is too stable.
Extracting a single element
Tubular model
Tracing profile curves
DESIGN PROCESS: FINALISING DESIGN This is my final design. It starts from a small point and twines around the arm, growing outwards. It is adapted from my emerging forms in Module 1. The 'tail' of my design is inspired by the branching out effect while the main 'body' is inspired by the increasing size of elements, forming the volume. I like how my emerging forms blend together to portray the growth.
Emerging form that inspires the 'body' of my design
Final design
Emerging form that inspires the 'tail' of my design
DESIGN PROCESS: DIGITISING FINAL DESIGN IN RHINO I tried to digitise my final design using the method of cutting cross-sections, however, I could not loft it due to the twist in the design. Furthermore, it does not pass through a single point so it could not be pierced through a skewer. I then applied the first method of tracing profile curves of the bean shaped from the top and front photographs. For the tail of the design, I used the pipe command and did a Boolean union of the two.
Front view
Top view
FInal model
Cutting cross sections Boolean union of pipe and bean shaped obtained from tracing profile curves
DESIGN PROCESS: IMPROVING THE GEOMETRY IN RHINO As I did a Boolean union of two forms, there was an irregular and bumpy connection between the them. This posed a lot of problems in terms of paneling because the faces would either overlap or the mesh would be inverted. After attending the tech support, the tutor recommended me to do a section curves of the entire form and loft them to form a single surface. The irregular connection was smoothen out and adjusted using control point edit on the curves.
Problems of using Boolean union for paneling (inversion and overlapping)
Problems paneling the joint area Final urface from lofting
DESIGN PROCESS: INTERACTIONS WITH THE HAND It can be held parallel to the arm by twining around the wrist or slipping through the fingers. The lantern could also be held up vertically like holding a flag or be cradled on both arms.
Interactions with the arm
PANELING: FROM STANDARD 2D TEMPLATES
Tribasic panel
Box panel
Wave panel Analytical Drawing
The models are from the standard templates – tribasic, wave and box. For the wave template, since my design is an open loop, the ends of the model would have to be closed up manually. After attending the tech-support, I realised that the box template could not be constructed out in reality because it is not possible to create a flat square panel. I like the tribasic model the best because the lines are in different directions and it gives it more dynamism which is similar to my analytical drawing with the zig-zag lines.
PANELING: 2D CUSTOM DESIGN
Taking inspiration from my analytical drawing which is made of triangles of different sizes and orientation, I begin to create my custom design I left some holes in the design for light to pass through. I liked the balance between the amount of covered and exposed surfaces. However it is actually not possible to construct it because of the curved surfaces of my model.
Analytical Drawing
Custom 2D panel Custom 2D panel
PANELING: 2D CUSTOM DESIGN AND EXTRUSION I also did another 2D custom design and 3D extrusion, this time following my emerging model. Although it looked quite fancy and intricate, it is actually impossible to cut out and create this.
Emerging form
Custom 2D panel Custom 2D panel
Custom 3D panel
Custom 3D panel
PANELING: EXPLORING THE FIN EDGES
Fin-edges
To create some depth instead of just a 2D design, I used the fin edges tool. I created some fins and then attached some flat panels onto it. However, I found the whole design rather stagnant and boring so I began to cut out random panels. This allows more light to shine out of the lantern instead of just from the small silts of the panels. In addition, breaks away from the rigidity and symmetry of the design. Unfortunately, this is also not feasible to construct because of the square panels.
Flat panels
Cutting out random panels
PANELING: FROM STANDARD 3D TEMPLATES
Partition extrusion
Variable grid offset
Deleting random panels
Deleting alternating panels
Next I moved onto 3D paneling tools in Rhino. 3D paneling tools will allow me to create a lantern with more volume such that it symbolises growth. I extruded the standard partition pattern. Similar to the fin edge tool, I created flat panels and then deleted some randomly. I also tried deleting alternating panels to analyse the difference in the effects. Lastly, I offset the second grid by a variable distance, using a point attractor and applied the same paneling tools as the previous models. The final model is shown above. This model is better able to bring out the effects of growth that I want to achieve as the extrusion of the elements increases towards the opening. I think that the 3D partition tool is better than the fin edge tool as the extrusions are above my surface in this case, making my lantern larger and I need not worry about having overlapping fin edges. Furthermore, the distance of the extrusions can be varied to create more volume at the upper end. Panels in this case are situated at the base of the extrusions, further emphasising the extrusions instead of being hidden away in the case of the fins edge.
PANELING: 3D CUSTOM DESIGN
I did some 3D custom designs of my own using different kinds of triangles. However, the surfaces cannot be joined perfectly. I realised that all the designs had two adjacent surfaces joining each other. Hence, the mesh would be distorted due to the curves on my lantern.
PANELING: SETTLING ON TRIBASIC AND PYRAMID TEMPLATE
Tribasic design
Pyramid design
Based on previous models and designs, I found that they were either too complicated or they were made up of square panels so they cannot be printed out as a flat panel. Therefore, I will be focusing on the standard tribasic and pyramid templates on the right for modelling my prototypes.
PANELING: OFFSET BORDER Using the offset border tool, I created a standard border offset of a fixed width. I like how some areas of my lantern are being offset to produce holes while others still remain as flat panels. In general, the smaller panels on the tail are intact while those on the body are being offset, creating variation. This symbolises growth as the size of the panel openings become larger across the model and the size of the shadows will increase gradually, forming an extension to growth.
Prototype Lantern1
PANELING: OFFSET BORDER
Prototype Lantern 2
From the standard 3D pyramid template, I did an offset border. I increased the number of points so that the opening will not be a square. Furthermore, I did a variable offset point for the second grid to make the the object grow and increase in size. I think that the 3D pyramid allows me to explore growth even more because it is able to a create a greater volume at the body.
PANELING: LINK TO PRECEDENCE
Prototype Lantern 1
Prototype Lantern 2
I feel that the offset border designs I created is linked to my precedence on Al Bahar Towers in Abu Dhabi. During the daytime, the panels are all fully closed which is similar to the tail of my design. At night, there are openings in the design of the fasade, which can be linked to the offset borders of the body of my design. Variance in panels
FINALISING DESIGN
I planned to combine both my 2D design and 3D designs together, creating a double skin lantern. This idea was abstracted from my analytical drawing (Poling, 1987). The curve form of my lantern is inspired from the curve grid of my analytical drawing. Furthermore, I have overlapping triangles in my analytical drawing which can be represented by 2D triangles and 3D triangular panels, overlapping in space. However, while fabricating the pieces together, I realised that they do not fit. Looking back closely at my Rhino model, there are instances where the two panels actually cut each other because they pyramid shape is formed on the base of two panels. I could recreate it using one panel but I do not like the idea of having so many so many small 3D pyramids as it does not portray growth well enough
PREPARATION FOR CUTTING
The pictures show the process of labelling, unrolling strips and making tabs from my model to prepare for cutting.
FABRICATION OF PROTOTYPES
Prototype Lantern 1
I began fabricating the largest section of my prototypes. As they were bigger pieces, no structural instabilities were detected as the tabs and joints are larger.
Prototype Lantern 2
FABRICATION OF PROTOTYPES
These are fabrication pieces of the middle and lower end my prototype. I wanted to analyse the joints between the pieces, their scale in relation to the other parts of the model and their effects on lighting. For the middle section, I realised that it is rather unstable and flimsy although I managed to create the angle of rotation against one another through joining two tabs together. I will consider cutting out longer strips instead so that it will be more stable.
Joining tabs Middle and lower sections of design
ANALYSING SCALES AND INTERACTIONS WITH THE HAND
LIGHTING EFFECTS These are the effects of lighting taken from different angles. I liked the spread out effect of the shadows, forming an extension of the model as though it is growing outwards.
LIGHTING EFFECTS
The pictures on the top show the effects of light on individual prototypes which are clear cut and crisp lines. The pictures at the bottom show the effect of overlapping shadows due to the 2D and 3D skins being placed over one another.
LIGHTING EFFECTS
I am very satisfied with the lighting effects as there is a variation in the thickness of lines which allows me to achieve the effect I wanted based on my emerging form. Furthermore, as the skin has triangles placed at different orientations, it allows me to produce variations in the directions of the lines like the image of overlapping leaves from different directions. Emerging form
Shadows of emerging form
AN ACCIDENT – MISTAKE OR OPPORTUNITY?
After sending the files to FabLab for cutting, I realised that I placed score lines for the triangles I wanted to cut off instead of placing cut lines. Hence, I manually cut out the triangles using a penknife. In the process, I realised that I could actually leave one end of the triangle uncut, forming a flap. I tried moving the slap outwards and also pushing it inwards and tucking the edges underneath to form a pyramid shape.
AN ACCIDENT – MISTAKE OR OPPORTUNITY? (LIGHTING EFFECTS)
All three images show the effect of cut light except the one on the bottom right, which has a skin that that glows with an external 3D extrusion around it.
AN ACCIDENT – MISTAKE OR OPPORTUNITY? (IMPROVISATION)
The previous designs only focused on illuminating the skin rather than the shadows as most of the light is being blocked by the flap. Hence, I decided to do an offset border surface again, but this time, cutting the piece away so that there are some hollow spaces for the light to shine through. I then stacked the flaps one above another to create variance in heights and achieve a layering effect. This is similar as me trying to integrate the 3D extrusion and the 2D skin together. The pictures below show the effect with lighting. I like the random and scattered shadows formed.
AN ACCIDENT – MISTAKE OR OPPORTUNITY? (FINALSING IN RHINO)
I went back to Rhino to edit my model, doing the offset border twice but I only cut holes in the smaller triangles. The middle-sized triangle is supposed to be cut on two sides and folded inwards. The final orthographic models are shown on the left.
READING REFLECTION Discuss how Heatherwick uses design to create spatial effects. Use one project to illustrate your discussion. I think Heatherwick's designs all originate from a base element and it is then developed further through a series of transformations to come up with a different form and shape. I particularly liked The Rolling Bridge he designed in London. It is really interesting how he manipulates the trapezium to close up to an octagon when the bridge is not in use, creating an aesthetic sculpture at the edge of the river. It is also functional as a normal bridge when extended outwards. I like the contrast between the linear and stretched out form of the bridge with the curled up and compact form. It seems to suggest that when an animal is moving (bridge is in use), its limbs are all stretched out and when it is asleep, its limbs curls up together (when bridge is not in use). It creates extra space when needed for people to walk across and save space by placing the contours of each trapezium closest to one another.
READING REFLECTION What are the key differences between 'abstraction' and 'reduction'? Can you relate these ideas to process analysis you undertook in Module 1 (and the reading by Poling)? Abstraction involves identifying patterns and using a set of algorithm to explain a design in the most concise way. However, reduction is the process of eliminating irrelevant details to formulate a clearer description. In Poling's readings, he clearly describes abstraction in the first step by picking out the overall form of the object. In his last step, he suggests that we should focus on the relationships between objects to portray an expression or an idea. Here, reduction is applied to generate a concept from multiple ideas and forms. In Module 1, I abstracted characteristics of my found pattern to produce my analytical drawings. I based my development on the intersections and curve nature of the seashell. Abstraction is useful as it allows me to focus on a particular key element and build up my ideas from there instead of looking at the found pattern as a whole. The recipe we derived is a method of explaining our design in words and formulating an algorithm. From my analytical drawings, I applied the concept of reduction and selected only one out of three of my analytical drawings for the extrusion into paper. I also simplified it by choosing a base element so that it can be extruded. Reduction is useful here in selecting the best idea from a variety of designs or to simplify complex ideas. While translating the paper models into plasticine models, I realised that both materials have very different properties. As mentioned in the readings, we should pay attention to materials in abstracting. Following the same recipe will produce vastly different results in paper and in plasticine.
CREDITS 1. Seashell, http://mi9.com/wallpaper/sea-shell-animal-picture_79716/ 2. Karen Cliento, September 2012, 'Al Bahar Towers Responsive Facade, Aedas', ArchDaily http://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas/ 3. Overlapping leaves, http://patternity.org/search/shadow/page/4/ 4.The Rolling Bridge, London, Heatherwick http://www.bbc.co.uk/news/entertainment-arts-18206702