Virtual Environments Module two : Design
DESIGN : From ideation to design INSPIRATION
EMERGING FORM CLAY
RECIPE
EMERGING FORM PAPER
EMERGING FORM
|
clay model
Emerging fom would be held like a torch across the body, within the length limitations.
THIS IS MY EMERGING FORM PRODUCED IN MODULE ONE THIS IMAGE WAS USED AS A BASE FOR EXPLORATION. TO TRANSFORM THIS IMAGE INTO A 3D-RHINO STRUCTURE I SLICED THE CLAY INTO SEGMENTS WHICH WAS THEN PHOTOGRAPHED AND UPLOADED TO RHINO.
EMERGING FORM ONE
|
RHINO
EMERGING FORM- 2D PANNELING TOOLS RHINO 1. 2. 3. 4. EMERGING FORM ONE WAS CUT INTO SEGMENTS. THIS ALLOWED ME TO TRAE EACH PEICE IN RHINO TO PRODUCE THE OVERALL FORM AS SEEN IN IMAGE ONE.
TRIANGLE WAVES BOXES DIAMONDS
EMERGING FORM ONE
|
RHINO
SECOND EMERGING FORMEXPLORATION OF NEW FORM AND TRANSFORMATION USING PANELLING TOOLS. THESE 3D EXTRUSIONS HAVE ALL BEEN PRODUCED BY MAKING CUSTOM PANELS.
EMERGING FORM
|
HOW IT WILL BE HELD
Although i was pleased with the simplicity and design of my first emerging form, i began considering the different ways i could hold it, and how it could be trnasfomred to be posistioned differently on the arm. I began researching different positions o the hand, with this in mind i started morphing the emrging form, not only altering the way it is held but the way it is positioned.
http://3.bp.blogspot.com/-LALlrXJpZCU/TcqjE1ZPLlI/AAAAAAAAAIE/SFAw1zIbArE/s1600/hands.jpg
EMERGING FORM
|
EMERGING FORM ONE
UNFOLDING 3D MODEL
1.
2.
3.
4.
5.
6.
THE AIM WAS TO UNFOLD THE SURFACE INTO SEGMENTS WITHOUT EXPLODING THE PEICES. UNFORTUENTLY THIS DID NOT WORK. SO I EXPLODED THE SURFACE WHICH RESULTED IN A NUMBER OF TRIANGULAR SHAPES(IMAGE 4). I THEN ALIGNED THE SURFACES INTO A LINEAR FORM & FOLDED ALONG THE INDENTS(2). THESE WERE THEN FOLDED INTO 3D SHAPES AD JOINED TOGETHER SO I COULD TEST DIFFERENT LIGHTING EFFECTS (3). VERY LITTLE LIGHT WAS ABLE TO EXTRUDE THROUGHT THE SURFACE, SO I FOLLOWED THE FLAT SURFACES OF THE MODEL AND UT OUT SEGMENTS IN WHICH LIGHT COULD SHINE THROUGH (5) THIS EFFECT RELATES TO THE LIGHTING TRIALS I CONDUCTED IN MODULE ONE, WHERE I UT OUT SECTIONS TO SHINE LIGHT THROUGH INSPIRED BY ISLAMIC SREENS.
EMERGING FORM
|
TRANSFORMING EMERGING FORM RHINO
SIMILARLY TO THE OTHER SURFAES UNFOLDS I EXPLODED THE SURFACE & WAS LEFT WITH A SERIES OF SQUARE SURFACES. I FOLDED THESE TO GIVE THEM DIMENSION THEN ALIGHNED TO FORM THE BOX PANELLING. I BELIEVE IF THERE WERE BIGGER SPACES BETWEEN THE PANELS LIGHTING EFFETS WOULD HAVE BEEN MORE EFFECTIVE.
EMERGING FORM
|
TRANSFORMING EMERGING FORM RHINO
IN THIS TRIAL I WAS ABLE TO PRODUCE THE 3D EXTRUSIONS OF THE EMERGING FORM. I LIKED THE WAY THE LIGHT EXTRUDED THROUGHT THE GAPS BETWEEN THE TRIANGLES. BUT TO ENHANCE THIS EFFECT OF COULD UT OUT LARGER SEGEMENTS LIKE IN EFFET ONE.
EMERGING FORM
|
TRANSFORMING EMERGING FORM
I felt this form was somewhat to simple considering the complexity of the dahlia flowers pattern. As the 3 layers present in the clay form are not particulary evident in the rhino model i feel its not an adequate transformation of the form. I also believe it would be quite limiting when it comes to pannelling surfaces as i hope to include more then one custom surface as i trialed many of these already.
I need to stay consistant with my exploartion to ensure my emerging form and rhino modelling relate back to my inspirational natural pattern from the Dahlia flower. Thus i will be keeping the repetition of curvaceous forms in my other trials.
EMERGING FORM
|
TRANSFORMING EMERGING FORM
I hope to add 2 spherical layers, this allows more surfaces for pannelling and adds alittle more complexity to the overall form.
Similarly, to the previous model it will be held with both hands across the body.
EMERGING FORM
|
TRANSFORMING EMERGING FORM
DESIGN : Readings
DISCUSS HOW HEATHERWICK USES DESIGN TO CREATE SPATIAL EFFECTS? USE ONE PROJECT TO ILLUSTRATE YOUR DISCUSSION. Heatherwick considers the world around him at a complex level to create spatial effects. He doesn’t look at previous designs/buildings to inspire his work but instead focuses on a single element. This element is then used as the focal point of investigation and exploration of design which eventually results in the production of something quite unique and beautiful, as the single element repeated results in an amalgamation of amazing effects. As seen in the seed cathedral, in which a tiny seed was trapped and made precious. Each seed rod brought in natural light, and at night each reflected an optic light illuminating the building. The building not only projected the beauty of the seeds but also light and space. As within the building the environment was described as silent, cool and a reflection of the natural processes occurring outside the building as the clouds passing over could be seen from the inside. Heatherwick did not only aim to produce spaces or building that where beautiful without any real purpose or positive function, as revealed in the design of the power station. He recognized the importance of not “decorating” the surface of a typical looking structure. He instead used the landscape to create a power plant that celebrated its function, as the building had to have height this was utilized as a viewing platform for the locals. Remaining dirt was used to insulate the outside of the plant reducing the noise and blending the structure into the natural landscape.
WHAT ARE THE KEY DIFFERENCES BETWEEN ‘ABSTRACTION’ AND ‘REDUCTION’? CAN YOU RELATE THESE IDEAS TO PROCESS ANALYSIS YOU UNDERTOOK I MODULE 1 (AND THE READING BY POLING)? Abstraction relates to changing reality, it involves reducing the amount of information to only the amount needed to describe the properties of an object unambiguously. Abstraction can be used in material, detail and shape. Reduction involves finding the optimal way to transport information without altering it. This can be through normalization and refactoring. Normalization is the process of removing any anomalies while refactoring involves changing the source code of a program without changing its functionality. Reduction is a permanent change; designers must be precise when determining what they chose to reduce to ensure they don’t reduce the functionality of a model through further abstraction. Throughout module one abstraction was used to simplify the complexity of our natural forms to a simple recipe. This described the properties of our found pattern without unnecessary information, which was also inspired by Kandinskys teachings. Kandinskys process of analytical drawing is also a process of abstraction as it reduced our found pattern to its most simple of forms- repetition, movement and symmetry without the distraction of minor details. Scheurer, F. and Stehling, H. (2011): Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 (4), July, pp. 7079