Stefanie Judd
Student No: 638809 Semester 1/2013
Group 5
My Natural Pattern
Analytical Drawings
I First started by tracing out the pattern that joined each of the tips of the petals in a rough circular shape. http://www.flickriver.com/photos/21654792@ N03/4329196400/
I then used ‘Tooling / Aranda, Lasch. New York : Princeton Architectural Press, 2006).’ recipe for cracking as a guide to create my pattern. I drew lines from the centre of the outline and connected them to the points on the shape.
I then repeated the second step - finding the middle of the shape then drawing lines to connect to the points of that shape. This represents Movement as the shape of the overall image can be forever changing if we continue this process.
My Recipie 1. Draw a series of dots that roughly resemble a circle 2. Connect those dots 3. Mark the center point of the shape 4. Draw straight lines out to all the points on the shape 5. Repeat steps 3 and 4 untill content with the pattern
Model 1
For my first model I chose to use the triangles from my original pattern, as shown below:
I initially started by using this base triangle and connected it to another of the same dimensions so that the emerging shape appeared symmetrical. After creating two of these shapes I continued to experiment with the dimensions of the same base triangle. I first extruded the walls of the triangles and made them significantly higher - as can be seen from the blue arrow. I then continued to enlarge my original triangle keeping the height the same as well as keeping the basic shape. Finally I applied both transformations to my original triangle and ended up with a triangle that was both greater in height and a greater scale than the initial form. I then tried various methods of putting these shapes (the two triangles stuck together) together. Initially I could not make the shapes tessellate, however after moving them around I found that a star shape begun to emerge - as seen in the image to the left. I continued to piece together my model until I had used all the triangles and was left with the final model photographed to the left.
Model 2
For my second model I continued using the theme of triangles, which I obtained from my analytical drawing shown on the previous page. The dimensions of my triangles are as shown in the photograph to the right, and are the same as used for the original triangle in the first model. I taped the two ends of the paper together to form a triangle.
Height = 1.5cm
6.7cm
3.7cm 15cm
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Model 2 Continued I was able to create the three dimensional object shown in the photograph to the left by connecting only one side of the two triangles, rather than both side which I have done in my first model. By only connecting one of the sides the triangles flared out creating a shape with more volume and a greater 3D aspect.
After creating this basic shape with the two triangles I was able to connect them along their edges to form the three dimensional shape shown to the left. Once I had joined ten triangles together I connected the first and last triangle together to form an enclosed shape. This shape I later found, formed a star at the top of the overall shape.
Shadow Cast by my Model I was able to fit in another layer of triangles by tessellating them in the opposite way that I did before (the triangles were flipped upside down and slotted into the gaps.) I also decided to experiment with light and see what effects this model created when light was shone through and I got very interesting results. The star shape from the centre of the model was projected onto the wall and surrounding it were various triangular shapes.
http://3.bp.blogspot.com/_9G--dAxqDuk/SXzb7Hz4XSI/ AAAAAAAAApk/5P6swo0vQHs/s400/maufoto.jpg
In one of the lectures Paul talks about interference systems, which is the overlaying of one pattern over another to form a new pattern, this is layered light. I find this idea interesting in that you can have two very simple patterns and combine them to form a pattern you otherwise would not have seen. The image to my left depicts this idea of layered light. You can see light entering the slits in the wall in two different angles (red and green lines), when these lines intersect we can see distinct changes in pattern, mostly in the colour of the light/shadow. Lighter squares form where the two lines of light intersect creating an almost chequered pattern. I am considering using this method of layering light in my plasticine model.
Plasticine Model
My third model also takes on the idea of a flower once again. This particular lantern design is handheld, it sits in the palm of the hand. My main idea was that there would be overlapping patterns, so that when light shines through we not only get one pattern but also another, creating an entirely separate and new pattern in itself. The ‘mound’ in the middle of the flower shape is designed to be very similar to my paper model - it is similar in shape and I liked the lighting effects caused by the paper model, this would create the first pattern. The petal shapes would provide the second pattern, a second barrier that light would have to travel through in order to leave the lantern. This lantern is not designed to shine downwards as it is handheld, however this will not affect the overall effect.
Lecture 1 and Reading Response This weeks lecture introduced the concept of information being made real through representation. We were also shown different examples of how patterns formed in nature, such as trees and their branching systems. All information can be reduced to a very simple system of rules, the simpler the rule, the greater the complexity of the system. Many artworks and even buildings use this idea of a rule system to create a detailed pattern which can often be inspired by those found in the natural world. The lecture helped me gain a greater understanding of analytical drawings, in particular, how they are created and the ideas and thought processes required to understand them further. The three stages of analytical approach advanced by Kandinsky as discussed in Poling, Clark (1987): Analytical Drawing In Kandinsky’s Teaching at the Bauhaus, Rizzoli, New York, pp. 107-122 are: 1. Simplifying the whole image into one overall form, representing the whole formation in the briefest way possible, whilst still being able to identify the pattern with the original image. I did this by reducing my photograph of a flower to a simple ‘zigzag’ line, which ran along the edges of the petals. 2. ‘Development of the Structural network’ - making tension clear in the artwork through the use of broader lines and varying colours. 3. Presenting the pattern in the most concise and analytical way possible, I was able to do this by using only one line (in one of my drawings) and repeating it over and over again whilst rotating it around to form a circular yet angular shaped pattern.
Reading Question
Pattern Formation in Nature [Ball (2012)] In Phillip Ball’s ‘Pattern Formation in Nature’ he talks about how very common features of natural patterns result from mathematical analogies. As a person who is interested in maths and the logic it ensues, I found I had to deal with a very logical and structured pattern. I initially used the method of cracking to form my analytical drawing, and extracted the basic triangle from that pattern. Using triangles I rotated and shifted them around to form a very geometric set of shapes, in both a symmetrical and controlled way.
Ball also writes about how spontaneous patterning is complex and made up of many components, components which are formed by a relatively simple set of rules. In the formation of my model I applied this idea of using simple rules to create a more complex pattern. I simply rotated my basic shape (the two triangles) around an axis and connected them all together to form my final product.
RMIT Swanston Academic Building Whilst in the city on my way into University I saw this well known building and it caught my attention. As my chosen shape was triangles I found this building particularly interesting as it uses triangles and angular shapes to attract attention. This building was designed by Lyons, and is a very modern building which is highly contrasting to the older and more dated buildings surrounding it. As my analytical drawing for both balance and symmetry both revolved around triangles, I thought this building would help inspire me when creating my model. The repetition and symmetry of the triangles, as well as the 3D element (the triangles jut out from the building at various points) caused me to think about how I could make my model more sharp on the edges contrary to my initial model which was completely flat. This RMIT building also contains curvature on the edges which contrasts the angular shapes such as triangles with the curved edges of the building. I used this idea of meshing the two shapes together in my second model. I managed to curve the outside of my model to create an almost oval shape - that is if you were to drape cloth over the outside it would form a more circular overall shape.
http://c1038.r38.cf3.rackcdn.com/group5/building44719/media/jvfk_2.jpg
Digitised Model
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Using Paneling Tools
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Steps to create my digitised model: 1. The first thing I did in creating my lanterns shape was to create a sphere 2. I then turned gumball on and used it to elongate and pull the sphere into an oval or egg shape 3. Using another oval shape overlapping the original shape at an angle, I was able to use the Boolean difference command to subtract the overlap of the second oval from the first to create figure four.
To create the ‘skin’ of my lantern I used paneling tools on Rhino. I created a grid so that I could apply different panels to the outside of my lantern. Initially I used the wave 2D panel, however it did not line up correctly and there were visible gaps between each triangle. I then changed the wave to a simple triangle because it fit together better.
Step 5
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Final Product
5. Step five involved pulling up and pushing down parts of the side of the shape until it resembled my clay model. 6. To complete the model and create the ‘bump’ in the centre I created the shape shown in the step six capture and once again used boolean difference to create a cutout in the base of the model created in step 5. I then placed the curved ‘bump’ shape back into the centre and my model was complete.
Further Developing My Design
Design Alternatives - Using 3D Paneling
Main outer section This is the outermost section of the lantern, and will be the most visible. I went into the paneling utilities and created these triangular holes in each of the larger triangles. The triangular holes increase in size as they approach the opening at the top of the lantern. These shapes I created are similar to that of my emerging form where I used many triangles and connected them to form a 3D shape with a star opening. The Bump in the Middle
Figure 1 shows my emerging form paper model I created. I used my emerging form in the design of my lantern, by extracting the base shape i used to create it, the triangle. 1
This is the innermost layer. I used the same method as the other sections to create the triangular shapes and cut-outs. This is the first layer the light will shine through, so will direct light through the other layers.
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Inner Section This inner section is the middle section of the lantern, between the yellow and red part. The Idea is that I will put tabs on the edges of each colour part so that I can connect each part to form three layers so that the light travels through these three layers and creates an interesting shadow.
To create this first design I used 3D paneling using a triangular based pyramid. I first created a paneling grid, then offset my points. I then used the command in Rhino ‘offset faces border’ and experimented with that tool to create varying sizes of holes to in the end, create different lighting effects.
Prototypes - Design 1 Part 1 Design 2 To create the flatened out version of my panels I first grouped together each row downwards this can be seen in some of the coloured panels and use the unravel tool in Rhino. Using the grasshopper tool I was then able to create tabs for my panel to stick together(far right). After creating the tabs, I then changed the colours of the lines according to how I wanted them printed, and printed the panel onto ivory card. My second design, rather than incorperating triangles, uses rectangular shapes as the base for the 3D paneling. I decided to use this to experiment with another shape and see how the effects differ as well as to see which shape would create a more aesthetically pleasing design. I found with this design it was hard to prevent the panels from overlapping, however I thought the rectangular shapes gave a different perspective on what the lantern could look like.
Part 2
The printed and folded panel is from the outermost layer of the lantern design - the biggest ‘shell’ part.
I chose design 1 as my lantern skin, this is because I think the lighting effects would look more interesting and I would like to experiment with the triangular shapes to create different patterns through layering of paper. This is the middle part of my model, it has smaller holes in the skin (the triangle cut-outs) so that when the light shines through this panel and then through the outer panel, different shapes form, in terms of shadows.
Part 3 This is the very middle section of the model, it has the smallest holes to once again allow for variation in the lighting effects. I created the panels in Rhino in the same way as I created the first and second parts. When gluing the card together I used mini bulldog clips to fasten the tabs together as they dried, I used this method because it is more accurate and efficient than holding in between your fingers.
Lighting Effects Various lighting effects can be achieved through layering of paper models of different shapes and sizes. These photographs show the shadows each panel creates individually, as well as when they are all placed together. It is very hard to show the effects created when all the panels are connected as the light source is too large and not shinging from ‘within’ the lantern as there is not enough panels to create even the slightest curve for the light to be placed within. The shadows genergated are similar to that of my emerging forms shadows as both have the triangular shapes. The light shinging through seems like very sharp light, however I did test the lighting with the light in the model to try change the lighting, but it did not change it at all, probably because the holes in the paper were too large to make any different lighting effects.
Week 4 Lecture and Reading Response This week’s lecture was given by guest speaker Dr. Alex Selenitsch. He talked to us mostly about form, composition and matters. A major theme of the lecture was the idea that 1+1=1, and that two things can come together, just as two things can come apart. I have used various methods or strategies of composition in the creation and growth of my lanterns design. I used the composition idea of interference patterns. My lantern has three distinct layers which all allow light to pass through creating a new pattern when the light overlaps. ‘Assemblage’ was also used in my design, as there are various triangles of different size joint together to create a circular over all shape. Thomas Heatherwick is a well-known designer and Architect, using the ideas of special effects in many of his studio’s projects he is able to create designs that interact with their surrounding environments. For example; in Heatherwick’s TED Talks (2011) video we see his famous ‘Rolling Bridge.’ Though the design of the bridge is intriguing to those who see it, it is less the design that people are drawn in by, but rather the movement of the bridge as it changes from a flat ‘normal’ bridge into a ‘work of art.’ It is different and unfamiliar as it is unlike any other bridge that opens up, this one rolls into a polygon/circular shape. Scheurer & Stehling’s “Lost in Parameter Space” investigates the variation between abstraction, and reduction. Abstraction is lessening the complexity of reality so that it can be defined more simply and easily. On the contrary, reduction is determining the best way to transport it, whilst at the same time not altering it. These ideas link to the readings in module one, we can see parallels between the way Kandinsky created more abstract pieces though abstraction, and Polling’s focus on developing individual and separate designs.
Final Digital Model
Unrolling in Rhino NB/ I used grasshopper to create the tabs and 2D lines seen in the images.
This is my final digital model from different views. My aim is to recreate my prototype as similar to this model as possible
First Prototypes These are my initial prototypes. They are prototypes of the panelling that I chose not to do, so have no relation to my final model. I found that they were both too large and flimsy due to the large holes I made using offset faces border.
These are screen captures of the files I sent into the Fab Lab to be cut by the card cutter. I used four sheets of 900 x 600mm ivory card to print off all the pieces for my prototype. This eventually became almost exactly what I used to send into the Fab Lab the second time for my final lantern, however I made tabs bigger and adjusted a few minor details. Red lines on these images mean that the lines must be scored, and the black - that they must be cut. I was sure to ensure that there were a couple score lines on the outside of each shape so that no pieces popped out and got stuck in the cutter while my pieces were being cut out. The words next to each piece correspond to the colour of each strip on the 3D model
Full Prototype Part 1 The Middle Section
This is the centre of the lantern completed. I found that this section though appearing neat from afar, was not as perfect as I wanted, so I aim to make the final a bit neater. The center of this section is seen to be pointing in, however in my digital model the points were supposed to be pointing out. I will fix this by making the score lines less frequent to strengthen the folds.
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Prototype Part 2 The 2D section
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1. This image shows one strip of the 10 that make up this whole section and has only just been cut out of the card. 2. The second step in creating my prototype was folding along the tab lines and score lines so that it was easier to stick together. 3. I then used the hot glue gun to stick together the tabs. The only problem was if hot glue got on my fingers, so I was very careful 4. I then stuck together each piece in step three and formed the rest of the middle section. This photograph shows a single piece of the 2D section of my prototype. It has only been cut from the sheet of paper, and there are no folds as it is only 2D
The middle section and the 2D section put together.
Prototype Part 3 The Outside Skin
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4 1. I folded along tabs and score lines 3. Glued the tabs of a single strip together. 3,4. I glued each strip together until a round shape was formed. 5. Glue on the horizontal strips of paper to form the wave shape of the top of the lantern.
5 When I finished sticking on all the pieces to create the outer skin or shell of the lantern, I dusted it a little, because the hot glue gun created stringy glue ‘spider webs’ everywhere and made it look messy.
Creating the Whole Prototype
This image depicts the different sections side by side before I glued them together.
The full prototype is shown fully stuck together in this image, with no lights on on the inside of the lantern.
The lights are now just sitting in the bottom of the lantern to show an effect of what the lights look like without it being dark. The reason the lights are sitting in the bottom, is that I did not stick together a couple of panels on the side so that I could access the lights, especially when I plan on adding in the circuit. This however proved to be an issue as putting my arm in and out of the lantern caused it to weaken in that area and rip slightly. For my final I intend on putting the lights in while the lantern is still like it is in the first image.
Problems Encountered 1. This problem was that the pieces did not fit together properly, as I by mistake printed one of the pieces backwards anddid not bother to manually create dotted cut lines along the tab to ensure clean folding of the tabs. This is simple to fix, all I have to do is flip the piece around in Rhino.
3. As can be seen, there are score lines on of these pieces, however not on the other. This is because I printed it off backwards and to make the pieces fit together, I had to turn the piece around, hence the lack of score lines. As I mentioned for the first image, to fix this I only have to flip the pieces around in Rhino.
2. The reason this join looks so messy, is that the tabs were much too small to stick together neatly, the glue oozed out of the tabs and made the visable part of the lantern look very messy. To fix this I will make larger tabs in certain areas.
Final Model Construction
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Method 1. Cut out the tabs 2. Cut out the small triangles from the inside of the strip 3. Glue together the strips together to form the base of the shell 4. Glue together the horizontal pieces forming a ring 5. Join the ring and the base together to for the full outer skin of the lantern.
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This is the construction of the middle section of the final lantern. 1. I cut out the individual strips from the larger sheet 2. I glued together each strip separately 3. I then glued each strip together to form the whole shape 4. Due to issues to do with adding in the lighting with the prototype, I put in the lighting before I connected anything. Sticking the circuit to the top of the center piece, and the bottom of the outer shell allowing the switch to hang out the bottom.
The image above shows a single piece that was cut out from the sheet of card. I then cut out the rest and stuck them together forming the shape shown in the second photograph. Unlike my prototype, my final did not have the same issue of having pieces flipped the wrong way around. I was able to resolve this issue and this section looked much better because of it. I then glued all three parts together to form my final lantern.
Final Lantern
Lighting and Effects
From these images it can be seen that the lantern creates an interesting lighting effect. The 2D section creates a glow while the rest of the lantern lets light through and creates the pattern shown on the wall.
The photo shown directly above depicts how I would like the lantern to be held. - The hands underneath with outstreached arms. Perhaps angled in a certain way to allow for the best dispersion of light.
Readings and Lecture Response Briefly outline the various digital fabrication processes. List constrains and opportunities provided for you through the use of CNC cut cutter or laser cutter? There are various fabrication processes for example: The two dimensional method – this means that objects are cut from a flat material placed horizontally and then assembled (each of the separate andindividual little pieces) to form a larger model which can often turn out to be in three dimensions, depending on the design. Subtraction – This is where a material is worn away or carved out, this leaves a structure where specific areas have been worn or carved away. For example ice sculptures or woodcarvings; artists begin with a certain amount of ice or wood then chip/carve away at it until they achieve the shape they want. Additive formation – This is when layers are added on top of one another (layer manufacturing) for example: 3D printing. I used this method when building certain parts of my model. I unraveled sections horizontally creating rings and then stuck them upon one another. This process can be considered as the opposite to subtractive fabrication, as suggested in their names. Computer Numerically Controlled Cutting otherwise known as CNC is a fabrication process which involves only two dimensions, and is the most commonly used. This is discussed in ‘Architecture in the Digital Age – Design and Manufacturing’ by Kolarevic. Various cutting methods include: - Plasma- arc - Laser-beam - And water – jet Due to the range of cutting techniques able to be used by the CNC cutter and laser makes it useful , however as it is a very good machine for 2D printing, it is not suited as much to achieving threedimensional fabrication. Different methods apply different ‘rotations’ of the material bed and cutting head, creating diverse fabrication results. Describe one aspect of the recent shift in the use of digital technology from design to fabrication? How does the fabrication process effects your lantern construction? A recent shift in digital technology is the ability to use three-dimensional software. Recently it has been much easier to create and modify a 3D design using only computer software’s, where in the past this was not possible. This is however, only good when excluding curved surfaces, as these require other means to fabricate. I learnt this when fabricating and unrolling my model. At one point some of my edges on my model were curved, and when I went to unravel them, they simply did not work. This design was obviously possible, it just required extra time to be created by hand or other means. The fabrication process effected my lantern because it enabled me to cut out my model using the card cutter much more accurately. This means that pieces meet up perfectly, and as a whole the model looks neater, as it is cut using perfectly straight lines and cut cleanly, and this is difficult and time consuming by hand.
Final Lantern Lit Up
It is unmistakable that digital technology aided me a great deal when I was trying to take the ideas from my mind and drawings on paper and make them into a three dimensional virtual image. There are limitations in programs such as Rhino, I have experienced this. My model appeared to be joined together perfectly virtually on Rhino, however when I printed off the pieces, they didn’t fit together as I thought they would. Doing things digitally doesn’t allow us to physically create models and therefore doesn’t accommodate for discrepancies in materials and building techniques. Though it appears that my prototypes did not appear to change much over the three different models, little things were changed such as; the size of the holes cut out of the paper, the size of the tabs, the number of dashed lines. All these little things I fixed made my final model more stable, neater and created a more desirable lighting effect. I did have a design risk when putting my lantern together. My lantern was made up of three sections, the middle two sections have in fact no designated way of connecting together, no tabs to connect, no set places to glue. This could have turned out to be an issue if I was unable to find suitable points to glue the middle two sections together, however I overcame this issue by using very strong glue and prototyping the design first. Line Drawing
Bibliography Ball, Philip (2012): Pattern Formation in Nature, AD: Architectural Design, Wiley, 82 (2), March, pp. 22-27 Building the Future: Recasting Labor in Architecture/ Philip Bernstein, Peggy Deamer. Princeton Architectural Press. c2008. pp 38-42 Architecture in the Digital Age - Design and Manufacturing /Branko Kolarevic. Spon Press, London, c2003 The third Industrial Revolution / Jeremy Rifkin. Palgrave Macmillan, C2011.pp107-126 Scheurer, F. and Stehling, H. (2011): Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 (4), July, pp. 70-79 Digital fabrications: architectural and material techniques / Lisa Iwamoto. New York : Princeton Architectural Press, c2009. Poling, Clark (1987): Analytical Drawing In Kandisky’s Teaching at the Bauhaus Rizzoli, New York, pp. 107-122 Tooling / Aranda, Lasch. New York : Princeton Architectural Press, 2006