my virtual journey...
abstract; pattern formation; the context; effects composition; digitisation; tessellating; folding uncertainty in making; simplicity; scales; puzzle-making; problem-solving LIM BINXIU ANGELINE 596462 SEMESTER (1/2013) GROUP 5
NATURAL PATTERN AND ANALYTICAL DRAWING abstract: 'to pick out distinct characteristics from an object.' Poling: 'Analytical drawing is an investigation of the structural relationships among objects.'
My analytical drawing explores balance, symmetry and movement. It is symmetrical about the central vertical axis. The vertical lines seem to be balanced out by the curvature of the fan shaped, hence the entire design is not so rigid. There is certain degree of overlapping in the design, such that the elements are interacting and not discrete. One can view the movement of this design as haphazard due to the vertical zigzag lines all over the place.
I chose the seashell as my natural pattern. From there I abstracted the curves and the vertical lines of the seashell as a guide for my analytical drawing. The following pictures and the rules below shows the process of creating my analytical drawing.
Analytical drawing
Natural pattern
THE RECIPE
1. Start by identifying the intersections between lines and curves in the seashell and mark them out in dots.
2. Draw a diagonal line downwards, skipping an entire column and then a straight line upwards.
3. Repeat step 1, moving across the whole of the top row. Starting from the second row, invert the base line and continue the design across the row.
4. Repeat steps 1 and 2 for the remaining rows. This time,offset the entire pattern one dot away from the initial point.
5. Complete the entire row and start with the inversion. Repeat steps 13 for subsequent dots.
EMERGING FORMS IN PAPER pattern formation: 'Exploring interactions and relationships between elements.' Ball: ' Common pattern in nature are typical formed through simple, local interactions between many components of a system – a form of physical computation that gives rise to self-organisation and emergent structures and behaviour.'
Based on the previous analytical drawing, I came up with a base element from the interactions with the lines and the curves. I explored how replicates of the base element can be joined to form an interesting emerging form.
Base element
Emerging form in paper
The recipe for my emerging form: 1. Start with one main element and three secondary elements. 2. Glue two secondary base element at different sides of the main element. They should be at the halfway mark of the main one, tilted at a certain angle downwards. 3. For the last unit, stick it on the halfway mark of the upper end of the main element instead to achieve a family of four units. 4. Replicate this design on the secondary elements, treating them as main elements. Several concepts were developed based on my emerging form.
Shadow of emerging form
Emerging form in Rhino
1. Growth: It starts with a single element then branches out to three more elements and each element then branches out again to three more elements. (Pattern formation in Nature, 'In biology, pattern formation arises from growth') 2. Rotation: Base elements are being rotated in space to create a three-dimensional form. 3. Layering/Overlapping: Certain elements are actually above others, creating different levels. This overlap of elements at different orientations produces effects under light.
EMERGING FORMS IN PLASTICINE AND INTERACTIONS WITH THE HAND the context: 'It sets the boundaries for the design but at the same time, it creates new opportunities for exploring forms.' Loh: 'How do you hold your lantern?'
Emerging form 1
Emerging forms with the hand
Emerging form 2
I made two emerging forms in plasticine. Both forms are based on the idea of rotation. Emerging form 1 explores rotation in three-dimensional space while emerging form 2 rotates about a plane. The idea of growth is also present in both forms. For the former, the elements are progressively increasing in size. In the latter, we can see that there is a point of origin and the elements are branched outwards. I also explored how the lantern can interact with the hand. The sketches on the left show how it can be twined around, dispersed from a point or a slow build up starting from an origin.
Possible forms on the hand
Possible forms on the hand
Possible forms on the hand
These pictures explore the emerging forms on a 1:5 scale with the model.
Possible forms on the hand
EFFECTS AND PRECEDENCE (AL BAHAR TOWERS RESPONSIVE FACADE/AEDAS) effects: 'Something beyond the physical structure. It is an extension of the form itself.' Loh: 'Consider the effects that you want to achieve in your lantern. What effects can your pattern produce?' Le Corbusier: 'Light creates ambiance and feel of a place, as well as the expression of a structure.' In the lecture, Loh introduced us to effects that patterns can produce. Initially, I was very interested in the creating a double skin, whereby the shadows of both skins will interact to form a new pattern. The C-Wall by Matsys Andrew Kudless was the main inspiration behind this layered light effect. However, through prototyping, I realised that a double-skin lantern would be too exposed and it is difficult to conceal the lights and wires. My precedence is the Al Bahar Towers by Aedas. This building is built in Abu Dhabi, an area with strong sunlight during the day. The architect has come up with an interesting solution by creating triangles with sides that can be adjusted. During the day, maximum coverage will be provided by the use of triangles, thus reducing glare and keeping the interior of the building cool. At night, the area of the triangles will be minimised to create a fascade that can be illuminated by lights. I feel that I can create variations in paneling in my design through having a mix of enclosed and semi-closed panels. Closed areas allow light to illuminate the skin of the lantern. Having semi-enclosed panels explores the effect of cut light.
C-Wall, Matsys Andrew Kudless
Al Bahar Towers in the day
Enclosed panels without lights
Al Bahar Towers at night
Semi-closed panels with lights
Layered light by having a double skin Transformations of the panels of the tower
REFLECTION FOR MODULE 1 abstract; pattern formation; the context; effects Briefly describe three stages of analytical approach advanced by Kandisky and how you have applied this process to your found pattern. The three stages of analytical approach described by Kandisky are: 1. Picking out an overall form. In the case of my found pattern which is a seashell, the overall form is the fan shape. 2. Identify tensions in the structure. Tensions in the structure can be observed through the vertical lines and the curves, forming the structure of the seashell. I chose to explore the point of intersection between the lines and the curves, which forms a grid for my analytical drawing. 3. Translation. Translation is a process of trial and error where I played around with the shape, lines and spaces to come up with an analytical drawing. We were encouraged to develop designs based on symmetry, balance and movement. I came up with three different analytical drawings exploring the various themes.
Describe the formation process behind your found pattern. Are there specific moments of the transformation from your found pattern that you can emulate or stimulate in your emerging form model? According to the reading, 'emergent behaviours cannot be deduced or predicted by a focus on the properties of the individual pattern', this suggests that we should not only look at the base element itself, but rather its interactions between elements that make up the whole composition/pattern. 1. In my found pattern, rotation is observed through the varying angles of the vertical lines. In my first emerging form, the base element is rotated to form the shape of a flower. Emerging form 1 (rotation)
2. Overlapping triangles are present in my analytical drawing. As the emerging model is three dimensional, this 'overlap' can be seen through having multiple layers forming a spiral. Tensions in the structure
Symmetry, balance and movement
3. The final emerging form is derived from the analytical drawing which spreads outwards, symbolising growth. It starts with the base unit and three more units are then attached to it. It continues to multiply, creating transformations of rotation and layering along the way. Movement
Symmetry, balance and movement
Emerging form 2 (overlap)
Emerging form 3 (growth)
EXPERIMENTING FORMS composition: 'the arrangement of objects to achieve something aesthetically pleasing.' Marion Boddy-Evans: 'Does it feel like the elements in the painting's composition belong together, or are they separate bits that just happen to be in the same painting?'
Modelling form in plasticine
Modelling form in plasticine
Sketches of forms
I gained an better understanding of composition from the lecture and I tried to use these ideas to create a form for my lantern. The three main themes I explored in Module 1 are 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. I did some sketches to explore the forms that I can mould using plasticine. From the sketches, I derived a composition strategy for my design. Composition strategy: There should be an origin point with a spread out and flowy effect (can be achieved through curves). . .
Translating to Rhino
I tried to model the design on the top 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.
Translating to 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.
DIGITISING FINAL FORM IN RHINO digitisation: 'It is not as easy as it seems to translate the forms we created in plasticine into Rhino. There are problems that we cannot foresee and hence, a good understanding of the commands is necessary.' Scheurer and Stehling: 'the uneven flow of a complex design from CAD to CAE and through to CAM necessitates an understanding of abstract mathematical concepts that facilitates communication, precision and accurate assessment of quality throughout the process.'
FInal model
Front view
Top view
Cutting cross sections
This is my final design. It starts from a small point and twines around the arm, growing outwards. It is inspired by my emerging forms in plasticine. It portrays growth as the size of the model is increasing. Rotation if exhibited through having a twist in the form. I then tried digitising my final design using the method of cutting crosssections, 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. Eventually, I applied the first method of tracing Boolean union of pipe and bean shaped obtained from tracing profile curves 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. 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. Lofting of cross section curves to create final form
PANELING OPTIONS tessellating: 'Tessellating allows us explore a variety of patterns and to build a surface that can be developed.' Iwamoto: 'The ability to array unique panels across large surfaces to address multiple scales and curvatures is one of the great advantages of tessellation.'
Tribasic panel
Pyramid with offset border
Tribasic panel with offset border
Tribasic and pyramid with offset border
Pyramid panel
I tried many paneling options but eventually focused on 2D tribasic and 3D pyramid as they both consist of triangles which is relevant to my analytical drawing. Another command I explored is the offset border.
TESTING PANELS folding: 'I stumbled into this idea of folding through interactions with the material and through my desire of challenging design beyond the virtual world.' Iwamoto: 'Folding turns a flat surface into a three-dimensional one. It is materially economical, visually appealing and effective at multiple scales. Folding allows new spaces and territories to emerge.' While fabricating individual panels, I explored having double skins through covering the 2D panel with a 3D panel. However, the problem of over-exposure arose. I realised that from a 3D pyramid, I could use the offset border tool and do a score for two of the lines and a cut for the other. Hence, the inner piece of the triangle is not cut out. After that, I folded down the flaps to achieve a double skin. I feel that this allows me to create two skins while saving on material and not having to worry about the connections between having two different layers. It also reduces overexposure due to having two skins with offset border.
Double skin – 3D panels over 2D panels
Cut and score lines
Double skin – 3D panels over 2D panels
Folding down the flaps of the pyramid
Folded pyramid with lighting
Final folded pyramid
REFLECTION FOR MODULE 2 composition; digitisation; tessellating; folding 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 which it is then developed further through a series of transformations to create a different structure. I particularly liked The Rolling Bridge he designed in London. It is 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 actually quite deceiving how a rolled up form can actually be unrolled to create a bridge, as people will not normally associate both forms together. I like the contrast between the linear and stretched out form of the bridge and 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.
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 the intersections and curve nature of the seashell to produce my analytical drawings. Abstraction is useful as it allows me to focus on a particular key element and to build up my own design 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.
The Rolling Bridge
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 material properties in abstracting. Following the same recipe can produce vastly different results in paper and in plasticine.
FABRICATION OF PROTOTYPES uncertainty in making: 'There are times when I feel that I do not know where I am heading and I do not know what to expect.' Charny: 'Many people think that craft is a matter of executing a preconceived form or idea, something that already exists in the mind or on paper. Yet making is also an active way of thinking, something which can be carried out with no particular goal in mind. In fact, this is a situation where innovation is very likely to occur.' PROTOTYPE 2
PROTOTYPE 1
Tribasic panels
Pyramid panel (direct extrusions)
Skewed pyramid panel (Moving 2nd offset grid forwards)
I find my previous model too rigid as the rings are just protruding outwards. I tried to explore ways to create leaning and overlapping effect through stacking of paper models. I then went back to Rhino to edit the model by moving the 2nd grid offset forward instead of a direct projection upwards. And then applying the pyramid template to achieving this skewed pyramid effect.
I did a partial fabrication of my first prototype which consists of a 3D offset border pyramid panel over a 2D offset border tribasic panel. However, the lantern is too over-exposed and there is no place to conceal the lights. Although it produced the shadows effects with the layering effect, I realised that I should be focusing on the illumination of the skin of the lantern rather than the shadows so that I can bring out its form.
Layering effect
After which, I added another layer of pyramids with a smaller grid offset and straight protrusions to blend both the different surfaces together.
Shadows effects
Offset of 2nd grid to create skewed pyramids
FABRICATION OF PROTOTYPE 2 – IDENTIFYING PROBLEMS AND STRENGTHS simplicity; scales: 'I realised that there was too much I wanted to achieve in my design. This made the whole design too complicated and pieces would not come together nicely. I also realised that I was trying too hard to fight against the material instead of accepting and respecting the characteristics of paper.' Iwamoto: 'It is often unnecessary to overtessellate a form: it results in a cumbersome and heavy computer model and often in unbuildable form. If the aim is to calibrate the initial form with a constructional system, one may better determine the size and resolution of the tiles relative to overall geometry and design intention, and with regard to final building materials and fabrication processes.'
Prototype 2
Unsightly tab marks
Skewed pyramids Layering effect not closing up the pyramid
Layering effect due to gluing alternating panels
However, there are certain areas worth developing on. 1. Within a single pyramid, I found that the pyramids not being able to close up interesting as it creates cut light and a layered effect.
Unclosed pyramid
I did not manage to construct a full scale prototype due to the following problems with construction. 1. Scale of the model is too small and there are too many panels, making it difficult to construct. 2. Tabs are glued inconsistently, leaving unsightly marks under lighting. 3. It is difficult to close up the pyramids because the scale of the model is small and the tabs are too narrow. 4. It is difficult to close up skewed pyramids as the slanted angles are too steep.
Gluing alternating panels Do not stick to neighbouring ring.
Stick to neighbouring ring
2. Looking at an entire ring, I tried gluing down alternating panels to the adjacent panels and it enhanced the layered effect. However, I did not implement this in my final design as it only works well having many small panels. In my final design, I actually increased the size of my model and reduced the number of panels.
FABRICATION OF PROTOTYPE 3 .
puzzle-making; problem-solving: 'Fabrication is a process where I test my ideas and make changes (in terms of design and way of fabricating) to work towards my final model.' Loh: 'Design is a puzzle-making and problem-solving process.' Problems and solutions: PROTOTYPE 3
1. Growth was not emphasised as the extrusions of the pyramids were not high enough. I increased the height of the 2nd grid offset so that the pyramids would be taller.
I did a third prototype and this time I increased the scale of my model as well as reduced the total number of panels by half. I kept it more simple by doing direct pyramid extrusions instead of having skewed pyramids.
Prototype 3
2. The flaps of the panels were in random directions and not standardised due to the way of unrolling. I manually move unrolled surfaces and join them to different adjacent pieces. 3. The electric circuit could not be placed into the model due to the curves and the small openings. The electric circuit had to be built while making the model.
Flaps in random directions
Manually shifted unrolled pieces in Rhino
FINAL MODEL - UNROLLING, NESTING, TAGGING, CREATING TABS AND ELECTRIC CIRCUIT FINAL MODEL
Parallel circuit
Connecting light bulbs in parallel
I constructed my circuit in parallel so that I can build a section of my model then attach the LEDs and build subsequent section and then attach the LEDs. Sticking ends of the wires to the tabs
As the circuit is parallel, the bulbs will be independent and disruptions in a single branch will not affect the rest. I also taped the wires to the tabs so that the bulb will be in the centre of the model. Unrolling surfaces and nesting
Tagging surfaces
FINAL MODEL – ASSEMBLY PROCESS
Strips for 2D panels
Assembly drawing
Fabrication process
Strips for 3D panels
I created my model by unrolling in rings for the 2D panels and unrolling the 3D pyramids in groups of three or four. The entire model was constructed in horizontal rings. Light bulbs were placed in the model during the fabrication process.
Final model
FINAL MODEL – INDIVIDUAL PANELS AND PARTS
Pyramid panels with offset border
Tribasic panels
Illuminated skin of final model
Pyramid panels with flaps folded down
Tribasic panels with offset border
Pyramid panels with cut light
Pyramid panels with cut light
The following pictures shows the different panels used for the whole model. There is a transition from 2D to 3D and closed to open panels to symbolise growth. It starts with the simple tribasic panel, then moves towards an offset border. Next, it builds up to form 3D closed pyramids with cut light. I then moved on to offset border and making cut outs through the pyramids. Lastly, the panels are folding down flaps of 3D pyramids. Pyramid panel with flaps folded down
REFLECTION FOR MODULE 3 uncertainty in making; simplicity; scales; puzzle-making; problem-solving Briefly outline the various digital fabrication processes. List constraints and opportunities provided for you through the use of CNC cut cutter or laser cutter?
Describe one aspect of the recent shift in the use of digital technology from design to fabrication? How does the fabrication process affects your lantern construction?
There are a few digital fabrication processes, namely 1. Addictive Fabrication. 2. Subtractive Fabrication. 3. Transformative Fabrication.
I feel that there is a shift in the use of digital technology for design due to the convenience of paneling tools and tessellations. It allows us to create tessellations that can be constructed through standard templates and even allows us to come up with our own patterns. In the past, the tessellations have to be manually drawn and calculated precisely before it can be constructed. This is similar to the analytical drawings that we did in Module 1, where we had to come up with a recipe. Through computing programmes in the digital world, we are able to obtain more accurate tessellations and their shapes and sizes can be varied through methods like point attractors.
1. Addictive Formation In the first process, layers are added one on top of the other and is referred to as layer manufacturing. An example is 3D printing. In my fabrication, I unrolled my model in rings and I stack them up in layers. Although, this is a useful and organised way of assembly, it is important to pay attention to the joints between the different layers. In my model, the tabs were not well connected or could be seen under lighting. 2. Subtractive Fabrication Subtractive fabrication is simply taking away pieces or sections from the original material. The card cutter uses this function. In doing so, we are able to get precise cut outs of our model and through tagging the pieces, we will know where each individual piece comes from and we will be able to assemble them together. This also allows us to create curved surfaces through the use of paneling tools. However, good understanding of material properties is necessary for the assembly process as paper may not bend in the exact direction that we want it to be. This fabrication method is not only limited to a 2D objects like paper but it can also be applied to 3D objects through machines with 4 or 5 axis. 3. Transformative Fabrication In this process, objects are being manipulated through certain chemical or physical reactions. I think that this is a more scientific way of fabrication. Once all components have been fabricated, the next step is the assemblage process. Brace frames can be used to support a building, likewise, I can consider using a 2D skin to support my 3D extrusions. Another method of production discussed in the readings is the use of lofting to create ribs for supporting the structure.
I find that the fabrication process actually helps me to understand me lantern better. Because, everything can be done so effortlessly in Rhino, I kept adding more and more components to my model, making it cumbersome and difficult to construct. I also feel that I have too many ideas and explorations but I did not actually focus on developing and making a single panel. Having too many components can also be too distracting and limiting my design to one or two paneling tools would make it simple but neat. In addition, I also failed to consider the aspect of actually physically constructing the lantern. I always thought that whatever I see in Rhino would be my actual model in real life and it would be easy to construct. Through the fabrication process, I realised that even the simplest 2D tribasic panel is difficult to construct due to the curves in my form. I neglected the bending properties of the paper and the joints and tabs between strips of paper. However, the fabrication process is did help me to unleash ideas and opportunities that cannot be visualised in Rhino. For instance, the folding of flaps downwards in my pyramid design and the connecting of alternating flaps. Therefore, I feel that creating prototypes is very important to test out material properties and I should not just limit myself to what I can do in Rhino.
INTERACTIONS WITH THE HAND
Model in the day
Model at night
REFLECTION FOR MODULE 4 Evaluate your process of designing and making the lantern against the notion of Craft outlined in the reading. Have you include a degree of design risk in your work? I think that digital technology (Rhino), allows us to produce a visual representation quickly and efficiently. For instance, paneling tools allows us to manipulate variables to get the overall design of our lantern almost instantaneously. It is also useful for us to edit certain parts of our design. This is because it is being programmed and controlled by a scripts and codes. However, I realised that the craft in the design process only begins when I start fabricating the prototypes. Through fitting the pieces of card together, I am able to test material properties like the bending properties of card. I realised that it is not possible to force small pieces of paper to bend the way you want it to and changes have to be made back into Rhino. I did not expect to face so much problems joining pieces of card together as I overlooked the joints involved in craft. The width of tabs and the way we unroll our pieces will ultimately affect the stability and the aesthetics of our lantern. Hence, the process of fabrication is necessary for us to convert virtual design into reality. Another aspect of fabrication is creativity and risk. According to Pye, 'He identified craft with the workmanship of risk - where the result of working with a material is not predetermined, but depends on the judgement, dexterity and care or the maker. The quality of the result is continually at risk during the process of making.' I enjoyed the fabrication process of the lantern as it allows me to explore, to understand and to question the way things work. I am fascinated as a simple 3D pyramid in Rhino can actually be manipulated in many different ways through selecting which lines to score and which to cut, through folding and bending different elements and even through choosing alternating tabs to connect to adjacent pieces, one can produce cut and layered effect. I realised that all these explorations and possibilities could not be achieved by merely clicking a mouse. For me, the fabrication process is ultimately the most inspiring and most imaginative part of the design process. It allows me to rediscover and reinvent ways of fabricating things that Rhino is unable to portray. However, I must also acknowledge the fact that Rhino has indeed made design process more efficient as we can make regular changes and unroll, tag pieces and create tabs quickly through grasshopper. I cannot imagine painstakingly drawing out individual pyramids, calculating precise measurements and angles and to combine them altogether. Hence, I feel that digital technology and craft should go hand in hand as a designer. There are definitely constraints in both media but to be able to complement both media and exploiting the strengths of each one to make up for the flaws of the other, is truly a skill that I hope to master in the process.
The last reading is intended to project forward to the future of digital design and making. This influential text sets the future context for digital making and how digital making is part of a new economical movement and even politic structure. Drawing inspiration from the reading and your own learning from the last 10 weeks, describe how digital technology has changed your view on design, making and the context of the built environment? Firstly, I feel that digital technology facilitates learning as there are many resources and tutorials available online for us to learn to use a software. The Internet and collaborative sharing of knowledge and ideas made learning more accessible to the public. In my design process, I have watched the videos available on LMS to learn how to use Rhino. When it comes to searching for a found pattern or a precedence, it is also convenient to rely on search engines like Google. Secondly, digital technology helps us to communicate our ideas to a larger network. In the reading, the author mentions Etsy, an online website that links up buyers and makers of handcrafted furniture. I think that this collaborative initiative is beneficial to both parties and it fosters a community of sharing beyond physical boundaries. Likewise, we uploaded our weekly virtual slides onto the group wiki page and we can access the work of our classmates. I find that this sharing useful as we can learn from others and improve our design in the process. Furthermore, the examples of student journals on LMS serves as a source of inspiration and guide for me throughout the designing process. In relation to the built environment, I now have a greater appreciation for buildings around me. I realised that many buildings actually make use of paneling. The patterns on buildings tend to be simple and repetitive in nature. Hence, this made me consider the fact the buildings are built in a much larger scale then our lantern and it may be more practical to stick to one panel and to keep designs simple.
REFLECTION FOR MODULES 1, 2, 3 & 4 abstract; pattern formation; the context; effects composition; digitisation; tessellating; folding uncertainty in making; simplicity; scales; puzzle-making; problem-solving Virtual environments has taught me the process of designing and making an object. Firstly, I have leant how to abstract ideas from a natural pattern and come up with my own analytical drawing. The analytical drawing is based on a recipe which leads to pattern formation. This set of rules can be applied to both paper and plasticine to create emerging forms. I also learnt it is necessary to consider design in its context, and in this case, it is the interaction with the hand. Although the design brief may limit our designs, I feel that it also provides opportunities that otherwise cannot be achieved without restrictions, For instance, because of the interaction with the hand, I decided to come up with a twining form. Effects is an extension of the form itself and the precedence and designs from the lecture did serve as a source of inspiration for the effects that I hope to achieve. Composition is also another important component of a design. It can be seen in terms of composing a piece of music or in terms of arrangement of objects in still life drawings. In the case of my project, I feel that composition helps to tie all the ideas together (how it twines around the arm, how it symbolises growth and rotation) which can then be translated into a form. For the form to be constructed, we had to translate our physical models into virtual. Learning how to use Rhino was a big challenge to me as I do not have any previous knowledge at all. The digitisation allows me to understand the basic commands of Rhino to create forms. Furthermore, paneling tools breaks down the entire surface into small pieces and enables the lantern to be developed. After learning about paneling tools, I became more aware of the buildings around me and I realised that many of the buildings are actually made up of simple tessellations. My virtual journey was definitely not a smooth sailing one and I encountered many problems along the way, especially during the fabrication process. Through a series of experimentations and accidents, I learnt more about materials and joints and even more abstracts concepts like folding. Designing is definitely a creative process and it is impossible to predict what will happen next. I think it is important to recognise uncertainty in making and not be afraid to challenge the unknown and to accept failures. After my failed attempt to construct my first prototype, I went to look at the lanterns constructed by students in the past semester and some buildings around me. I noticed that most of the times, simplicity is the key. Less is more. Having a design of suitable scale is also vital as it will affect the stability of the structure. Lastly, designing and fabricating is a puzzle-making and problem-solving process. I feel that I am constantly testing out my prototypes, identifying problems and coming up with changes to improve the model.
REFERENCES Ball, Philip (2012): Pattern Formation in Nature, AD: Architectural Design, Wiley, 82 (2), March, pp. 22-27. Branko Kolarevic, Architecture in the Digital Age - Design and Manufacturing, Spon Press, London, c2003. Jeremy Rifkin, The third Industrial Revolution, Palgrave Macmillan, C2011.pp107-126. Karen Cliento, 2012, Al Bahar Towers Responsive Facade, Aedas, ArchDaily, viewed on 20 March 2013, <http://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas/> Lisa Iwamoto, Digital fabrications: architectural and material techniques, New York : Princeton Architectural Press, c2009. Peterandrej, viewed on 20 May 2013, <http://scriptedbypurpose.wordpress.com/participants/matsys/> Philip Bernstein, Peggy Deamer, Building the Future: Recasting Labor in Architecture, Princeton Architectural Press. c2008. pp 38-42. Poling, Clark (1987):Analytical Drawing in Kandisky's Teaching at the Bauhaus, Rizzoli, New York, pp. 107132. Seashell, mi9 Wallpapers, 2010, viewed on 10 March 2013, <http://mi9.com/wallpaper/sea-shell-animalpicture_79716/> Scheurer, F. and Stehling, H. (2011): Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 (4), July, pp. 70-79. The Painter's Keys, 2013, viewed on 20 May 2013, <http://quote.robertgenn.com/getquotes.php? catid=52> The Rolling Bridge, London, Heatherwick, viewed on 12 April 2013, <http://www.bbc.co.uk/news/entertainment-arts-18206702>