Virtual Environments Module four : Reflection CHRISTINE HOGAN | 640136 | GROUP
IDEATION- research The design was inspired by the natural pattern found in the dahlia flower; it followed a simple pattern of repetition with an increase in
scale with each increment. The Dahlia has an overall round form, with a large array of curvaceous organic shapes starting from the centre then spreading outwards, increasing in size with each overlapping piece. It is through the interactions of these single components different structures and behaviours are formed as discussed by (Ball 2012) in reading one. My recipe was the basis for my design throughout the ideation design and fabrication stages. My clay form reflected this process as it included three layers, of sizes, which slightly increased with each layer. It resulted in a basic torch shape, which would be held wit both hands in an upright position with a length of approximately 0.8 meters. From this basic form I produced my paper model, this reflected this torch like shape and had a repetition of round openings when held vertically, it could be folded and manipulated to form a fan or a cone shape and was relatively successful. It followed the recipe of repetition but the aspect of scale was slightly reduced.
1. Pick a central point. 2. Lightly draw a circle. Plot a point on the circle at X degrees from the origin. 3. Plot another point at X degrees from the last point on another circle that is slightly bigger than the previos. 4.Repeat step 3.
THIS RECIPE IS BASED INSPIRED BY THE READING “TOOLING” AND FOLLOWS A SIMILAR RECIPE TO “SPIRALLING”. ALTHOUGH I HAVE ALREADY PRODUCED A RECIPE FOR BALANCE, SYMMETRY AND MOVEMENT. THIS RECIPE SIMPLIFIES ALL THESE RECIPES INTO ONE BASIC RECIPE. THAT SHOWS THE STRUCTURE OF THE DAHLIA FLOWER IN ITS MOST SIMPLE OF FORMS - THE SPIRALING FROM THE CENTRAL POINT OUTWARDS INCREASING BY ( X) WITH EACH NEW SPIRAL.
Dahlias originated in Mexico, Central America and Columbia. In recent years Dahlias have been bred for their perfect symmetry , stricking colour pattern and beauty.
IDEATION- Emerging form
STEPS.
1.FOLD A4 SHEET OF PAPER INTO A TRIANGLE 2. FOLD IN HALF. 3. FOLD IN FORMING TWO SMALLER TRIANGLES (IMAGE 4) BEND THE TRIANGLE INFRONT OVER THE SECOND TRIANGLE AND APPLY A SMALL AMMOUNT OF GLUE TO HOLD IN PALCE. 4. FOLD THE REMAINING TRIANGLE INTO THE CONE. 5. PULL OUT SIDES ( IMAGE 7) AND USE THESE TO ATTACH FOLLOWING STRUCTURES.
Benjamin Aranda and Chris Lasch discuss “Tooling” which they describe as the “rules that exist within this hypothetical pre-material state that influence its movement into the realm of material. Which can then be broken down into seven algorithmic techniques which include spiraling, packing, weaving, blending, cracking flocking and tiling. My recipie was similar to spiraling- which can be seen in my paper emrging form
IDEATION- emerging form
Pick a central point. Lightly draw a circle. Plot a point on the circle at X degrees from the origin. Plot another point at X degrees from the last point on another circle that is slightly bigger than the previous Repeat step 3.
Although the design has changed throughout both the design and fabrication stages i had to ensure i followed the basic ideas stated in module one. This included both my recipe and clay emerging form.
IDEATION- research- from ideation to design This sketch was drawn aftert the unsucessful fabrication of my first model- it included the round forms i wished to produce from module one but reduced the number of sections to 2 not 3.
The cone like structure is seen in both my paper model and clay model- this repition of peices is inspired by both my recipe and precident. I felt the Bahai house of worship was relevant to the overal ideas considered in module one as it clearly showed the transition in size of the geometric shapes. I liked the overall form of the paper model though it did not reveal the size transition i wanted to achieve.
IDEATION- research & reflection
1.BAHAI HOUSE OF WORSHIP
2. -LOTUS FLOWER THE INSPIRATION FOR THE BAHAI HOUSE OF WORSHIP 3. THESE ARE THE BASIC FORMS FROMS I BELIEVE SAHBA REPEATED TO CREATE THE HOUSE OF WORSHIP. THROUGH SHAPES INSPIRED BY THE LOTUS FLOWER SAHBA WOULD HAVE CONSTRUCTED A “RECIPE” TO TRANSFORM THESE INTO A 3DIMENSIONAL BUILDING, INSPIRED BY A NATURAL FORM.
Module one allowed me to explore the asspects of my natural found pattern in its most simplist form. This simplification was inspired by the teachings of Kandinsky- in which we were required to follow a step by step proccess of simplification, transformation and analysis. This involved depicting my natural pattern as a flat outline drawing- reavling principal tensions and relations between horizontals verticals and diagonals. These analytical drawings made the natural patterning and processes clearer which then helped me produce my recipe. In module one this recipe evolved into a paper and clay model- both very different but still produced with the same underlying principals. It was through these basic forms the ideation process lead to a process of design, in which we were required to sketch a number of potential design outcomes that could be produced using rhino in module 2. One error i made in this stage was making my drawings over complicated- it would of been more succesfull if i was to follow the clay models form more closely at this stage, as i was unaware of the endless possibilities avalible using panneling tools which ultimately provide the complexity and flair to the overall form. The lecture inspired me to diffuse light through panels- as islamic screens were used as an example of this. This use of light filtration was usd throughout both my prototypes and final model.
Bahaihouseofworship 2012, Bahá’ís of India, viewed 16 March 2013, <http://www.bahaihouseofworship. in>. Larson, L, 2013, Lotus Flower, photograph, ndsu, viewed 22 March 2013, http://www.ndsu.edu/pubweb/ chiwonlee/plsc211/student%20papers/articles09/elizabeth%20larson/lotusflower/New%20Folder/Lotus%20 flower.html
DESIGN
DESIGN : From ideation to design
Slices used to trace into rhino
By slicing my clay model i was able to make it using rhino- this was the original form of my lantern i inteneded to produce though this changed throughout module 2 & 3.
DESIGN : From ideation to design
using round layers of two slightly differing sizes- this inspired final design except i decided i didnt like the cone bottom
2D paneling- these were more used as trials as they did not include cuts to diffuse light which i discussed in module one.
once again i tried altering the shape and design- as previously disucussed these panels were not effective as a final as they did not enalble windows for light ot diffuse out.
unsucessful prototype- was supposed to have 3 round layers- but bottom layer was unsuccesful so i completly changed the design due to time constraints
DESIGN : Final design
NORTH EAST
NORTH WEST
SOUTH EAST
DESIGN : From ideation to design
DESIGN : Reflection I found the design stage quite challenging as I was constantly inclined to change my design instead of sticking to one form despite its overall simplicity I found myself trying to produce more complex overall forms, which was not effective when it came to paneling. My first constructed model was challenging due to an error in the unfolding of the panels, which resulted in pieces that wouldnâ&#x20AC;&#x2122;t correctly join, this positioned me to change the overall shape of my design once again. Which resulted in a three-layered structure with an open base. This was not aesthetically effective at all, due to both the 3-dimensional paneling, which was difficult to adhere and resulted in unclean joints and finishes, and joining the structure as I had to use a number of staples, tape and glue. Thus I was required to resort back to my original design. This time I used 2-dimensional custom paneling and had 2 round layers. This was more effective as it looked much cleaner, the adhesive was barley visible across the entire structure and it appeared more structurally sound. Heatherwicks reading is relevant to both the design and ideation stage. As we used nature to inspire our design Heatherwick would focus on similar elements in which he would investigate. He would not just create things that were beautiful, but would instead base his design on function. Similarly, our lanterns are not just intended to be beautiful but should distribute light in a way that is effective and powerful. 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):
FABRICATION
FABRICATION: Prototypes 1. These were the prototypes made in module 2 - i eneded up changing these
in the paneling of my first prototype as i found the triangular shapes challenging to join
3. In this trial i used two different 2D panels- i liked the filtration of light from the black panels but overall as a two peice construction it didnt look asethetically pleasing as a whole- it also lacked the transition in size from small to large which was essential as stated in my recipe.
2. This is the unsuccesful model/prototype i produced in
the fabrication stage. I had hoped to produce 3 round sections- but was unsucesful producing the bottom layer due to an error in the unroling process. I also found the 3D panels not very effective as they were difficult to join in a way they was clean and strong- this was also evident in my atempt at ribbing the inside of the structure for support. I liked the use of black and white but it wasnt particulary relevant to the overall aesthetic i wished to produce. This inspired me to go back to the basics- which included the use of the round structures and 2D panels.
FABRICATION: construction
FABRICATION: Panels
Although the paensl are simple 2D shapes i am happy with the overall aesthetic as it relates back to my inspiration from the islamic screens Although the shape of my design changed numerously throughout the process, my intention was always to have the the light filter through the panels in this way. I thnk overall it was effective- aslo much cleaner looking then the 3D panels i produced in my prototypes. My intention was not to dramatically simplify the lantern but learn from my prefious mistakes and produce somthing that distributed light in an interestign way.
FABRICATION: lighting
I was pleased with the circuit i created as it allowed me to distribute the light relatively evenly throughout my lantern. As i onyl used three led lights i installed double the ammount of batteries to increase the intensity of the light. This was fairly effective overall.
PRODUCTION OF LED LIIGHT CIRCUIT
FABRICATION: final
overall i was faitly pleased with the final design outcome, although it was a simple shape and form it produced the lighting effects i desiired and followed the basic rules stated in my recipe produced in the ideation stage. The whole process was challenging but extremly benificial in the skills and processes i have learnt throughout the project.
FABRICATION: Reflection The process started with a 2D image of a natural pattern and finished in a 3D abstract form. It is through digital technology we are now able to completely transform a single element into something completely different. Through readings inspired by Kandinsky I was able to simplify this natural pattern to its most basic form, a simplified recipe showing symmetry, balance and movement. Benjamin Aranda and Chris Lasch discuss â&#x20AC;&#x153;Toolingâ&#x20AC;? inspired my overall recipe as it was based on their recipe spiralling. This recipe inspired the overall basic shape of my clay model and final lantern, as it was a simple process of repetition and enlargement with each increment. Rhino allowed me to transform this basic shape (clay model) through panelling tools, producing different shapes and effects. This process enabled me to transform this basic emerging form into something beyond what I could have imagined. Not only did this process allow me to see the various possibilities of my basic design it also allowed me to consider different lighting effects and the endless possibilities of custom panels, both 2 and 3 dimensional. It was through this process of digital manipulation I was able to create my own custom panels, which were inspired by the Islamic screens, discussed in lecture material. This process from ideation to design was both challenging but also extremely interesting. As it challenged not only what we could design and interpret from the ideation stage, but how we could take these ideas and put them into the computer. Through using rhino I was able to see the close connection between the design and fabrication stage. As my 2D custom panels were made on rhino I not only had to consider how these would appear using led lights, how this related to the ideation process and the dahlia flower but also how these could be unrolled in the fabrication stage. It was important in the design stage to insure the faces were triangulated and cut and score lines were identified to insure it would be correctly cut. This process from design to fabrication allowed us to have control over the appearance of our model, as all the measurements were done on the computer we could be sure the panels we were constructing were the same as those on the face of our final form, resulting in consistency and clean cuts. Although it is essential to take the time in the design process to ensure the unrolling has worked effectively as I found out in the first model I made, where a number of panels did not work which altered by entire design, Risk is reduced through using new technologies but careful control must be considered at all levels of design and fabrication.
LIGHTING EFFECTS
1-Hall. M, 2012, The Fibonacci Sequence As seen in flowers, photograph, viewed 12 March 2013, http://www.socialphy.com/posts/off-topic/12134/The-Fibonacci-Sequence-As-Seen-in-Flowers.html 2- ?, 2012, Dahlia, photograph, viewed 12 March 2013, http://www.dahlias.co.uk/dahlia_care/index.php 3- Langley S, 2013, seeing beauty in numbers, photograph, viewed 12 March 2013, http://sierrafoothillgarden.files.wordpress.com/2011/06/succulent.jpg 4- Wisner, A, 2013, Diatom, photograph, viewed 12 March 2013, http://lake-savers.com/our-team/ 5- Gasson,P, 2013, Lime (tilia) root cross section, microscopic photograph, viewed 12 March 2013, http://www.flickr.com/photos/kewonflickr/5157442805/ 6- Mobley, G, 2012, breathtaking examples of pattern in nature, photograph, viewed 12 march 2013, http://www.demilked.com/amazing-nature-patterns/ 7- ?, 2013. Pine cone spiral, photograph, viewed 12 march 2013, http://godmadeus.com/Create/fibonacci.php 8- Hinds, A, 2013, Tree stump texture, photograph, viewed 12 March 2013, http://www.freeimageslive.co.uk/free_stock_image/treestumptexturejpg 9- Paz, N, 2013, Green leaf close up, photograph, viewed 12 March 2013, <http://www.fanpop.com/clubs/green/images/23162757/title/green-leaf-close-up-photo>