Virtual Environments Darcy Zelenko Student Journal
Simplify
Natural Pattern
Belousov-Zhabotinisky Reaction
A Belousov-Zhabotinisky (BZ) reaction can be described as the self organisation of spirals on a two-dimensional plane1 caused by a temporally oscillating chemical reaction. What drew my interest to the BZ reaction was that unlike other seemingly static patterns evident in nature, the BZ reaction can be actively observed over a reasonably small period of time compared with that of rock formations or the creation of a tree. Within this pattern, intersections can be seen to be occuring as the pattern grows over time. This is a result of the rotational and scaling transformations that have emerged from clear origin points. The overlayed analytical drawing (left) inspired from Kadinsky’s methods in the Poling reading illustrates where some of these intersections occur along with their origins
Module 1: Ideation
Analyse
In teaching analytical drawing, Kadinsky preached a sequence of three stages behind his process: simplify, analyse and transform. The transformation image is an abstraction of the scale and meeting points created by the pattern. Lines begin to form complete shapes that illustrate areas that are most ‘busy’ in the pattern. Shapes with the most sides are the areas of the drawing where most interference taking place. The length of the lines represents the radius created upon an origin point.
Transform
Emerging Form
After creating a number of paper models inspired by the Bz reaction these were then digitised in Rhino. In creating these models, I used the principle of extrusion as a base then started to experiment. I constrasted the effect of copying and rotating with mirroring to generate two similar yet different iterations. The Aranda Lasch reading helped to clarify and identify some transformation techniques that are found in nature such that of the spiral and voronoi.
To help conceptualise the from of a lantern plasticine was used to represent the base principles of our natural pattern in three-dimensional form.
Coming up with a form that could be modelled accurately and that also wouldn’t get destroyed in the process took a little refining. It helped me flesh out a few ideas that would be culled for their impractibility.
A final form was decided upon after many different experimentations. This model was chosen because it emulated the principles of scaling, rotaion and growth over time. All evident in my natural pattern. To digitise my model I produced a set of contours by cutting through my digital model, which allowed me to trace the sectional slices in Rhino once they aligned and photographed. There were some hiccups when cutting the plasticine due to its materiality but with correct knife motion it was achievable.
It was important to have two skewers stuck through every single contour slice as they act as reference points. When It came to lofting the curves minor hiccups in the slicing stage became evident. From past experience, lofting more than 4 curves of different sizes can prove a little tricky as too many curves tend to warp the loft. There were fifteen referenced curves and some altering was necessary.
Module 2: Design
Panelling Many different methods of panelling. I experimented with 3d panelling and didn’t get many favourable results (possibly due to my complicated loft). I finally decided upon the triangular panelling as the three points of a triangle make fabrication efficient. Having an uncomplicated surface also allows me greater freedom in future to detail a lighting effect.
Prototyping
I used the Offset Faces Border tool with an attractor point at the top of my lantern to create larger cut-outs at the bottom than the top. I prototyped a single panel to test how a future lantern could come together. Grasshopper was used to create tabs between panels which were then glued together. I cut it myself on the card cutter with a material that was slightly thicker. The tool calibrations weren’t thick enough to cut through so I had to finish it off with a knife.
This is a simple lantern that has been made using a bottle of water and a head torch. The water is used to diffuse the light and create an ambient lighting effect. The underlying idea behind this is to turn a light source which is very user directed into something that can benefit a wider audience. Using a similar process in my lantern would harness the same sense of community that a camp fire has.
Heatherwick’s Bleigiessen, a sculpture that occupies the headquaters of The Welcome Trust in London is a great example of how different materialities can be employed during the ideation, design and protoyping of a project. It serves as inspiration in the design of the lantern as a similar process has been taken Heatherwick wanted to emulate the dynacism of water and capture it’s shape. He went about this by using the German art of BleigieĂ&#x;en, the act of pouring molten metal into water to create form. He did this over 400 times before finally arriving at his final prototype (pictured left). This was then digitised, so it could be replicated exactly using 142,000 glass spheres suspended along 27,000 steel wires.
Lighting Effect The Miss Maple lamp designed by Elisa Trozyk was created by tesselating triangular pieces of ply adhesed to a fabric to create a ‘Wooden Textile’. This is then able to be manipulated into a wide variety of froms. What I like about this project is how the designer has used the translucicity of the fabric to allow some light to pass between the gaps of the lantern. It really emphasises the pattern created by the trianglular wooden elements and gives the lamp a certain solidity. Below is a panel prototype that was created by deeply scoring paper, before peeling layers away to leave a smaller, translucent layer. When a loght source is put behind it scored areas glow in a similar fashopn to the Miss Maple lamp. This prototype was originally meant to be cut entirely but the card I used was too thick so it just deeply etched the linework. While accidental, this effect was amazing and helped my design thinking immensely. A quote from Dr. Alex Selenitsch’s lecture comes to mind: “I’m just as surprised as anybody else when this turns up on the page.” While I was looking to emulate a certain lighting effect I stumbled upon a great way of doing it.
I made a full prototype so I could get an idea of the full lighting effect I was trying to emulate. Prototyping part of this lantern wasn’t enough and wouldn’t display the full effect. I think the lighting effect worked quite well. It produced a very prominent glow and my method for creating the etched geometry was pretty solid (although time consuming).
Bleeding Out The first full prototype incorporated some of the principles of my natural pattern, but they were quite static. It would have worked if the BZ reaction was a static thing, but it is constantly changing reaction. To properly emulate this change, I had represent a sense growth and interference. I achieved this by ‘bleeding out’ a second iteration of my original form to create two layers. One growing out from the other. This was done by scaling and altering the original contour I traced into Rhino.
Matrix Wanting to push my lighting effect further I used grasshopper to create a definition that would apply geometry each surface. An attractor point would then dictate the size and rotation of said geometry. Here are a few examples that were created by altering the variable inputs of the definition.
Refining
Scale, rotation, interference This iteration was chosen because I thought using the same geometry that the panels consist of would be more suggestive of growth. The above diagram shows the BZ Reaction at several different stages. Above are panels that have been taken from my lantern that mimic this process.
Module 3: Fabrication
I created a second prototype to study how the the outer layer could be supported. Struts were used in this iteration to hold the keep the outter layer in place. This worked over the short term but a better solution had to be found. With the added weight of a second layer the lantern no longer stood up properly and was off balance. It also needed to be neatened up around the top to finish it off properly. The patterning worked quite well again but took longer to complete due to the increased number of shapes that had to be peeled off.
Pre-planning makes all the difference Previously, all prototypes were assembled using a strip system. This meant that longer pieces were cut which required less gluing. The downside of this was that when it came to finish off the final model, it was quite difficult to keep it in place and it bent out of shape. The solution to this was to create panels that would sit on top of of each other, like layers of a cake. This meant that I could construct a sturdy base to then connect the remainder of my layers. The exploded axonometric drawings show how the next prototype would come together. What’s also evident in these drawings is the addition of a crown structure that ties the two layers together at the top.
Fab & Panel detailing Peeling off all the geometries on each individual panel took an average of 20 minutes per panel. It was achieved with the edge of a blade and then ripped off carefully by hand. It was necessary to have a laptop open that I could reference back to which also helped when I had to score some lines myself that the card cutter was unable to. I started off using UHU as my adhesive, but graduated to PVA because it was much more cleaner to work with and was more forgiving. Bulldog clips were fundamental to being able to work with some degree of speed. They essentially acted as an extra pair of hands and could tightly seal joints very well.
Polishing After completing the third prototype my refinments helped dramatically in supporting the model and helping it stand up correctly. While meant act as a base, the bottom part and ‘skirt’ that supports the outer layer contribute to the overall aethetic of the lantern. Enclosing the bottom better helped to seal a lot of the light in meaning the glow of the inner layer was much brighter than before. I used the card cutter to complete the first two prototype models but switched to the Fab Lab for my final ones. This was because the card cutter was constantly being used which freed up the queue at the Fab Lab. Instead of waiting in line for hours (literally) to use the card cutter with the potential risk of screwing up I could send something to the Fab Lab to get cut before going to sleep and pick it up first thing in the morning. Taking advantage of shortcuts such as the above that arose was crucial in saving me time that wasn then put into the individual detailing of each panel that had to be done by hand. Strategies like this are being used by practicing architects everyday. I’m reminded of a lecture given by a representative from MCR about the construction of the Yardmasters Building utilising similar techniques, but using money instead of time to allow them to put more into their design.
The final model came together after a few hurdles. Slight changes to the crown were made and some tidying up was taking place until the very last minute to make it look as finished as possibe. To light the final model I had intended to use an Arduino controlled motion sensor that would increase/decrease the glow of the inner layer. A supply-side issue probibited this from being realised completely but I still used the Arduino to efficiently set-out a parallel circuit that meant each LED would glow at the same brightness.
Epiglogue
Module 3: Reflection
I came into this subject with prior knowledge of Rhino and Grasshopper. Over the past 12 weeks I have easily doubled my knowledge in that time. From the large things like learning Panelling Tools to smaller things like managing workflow I’ve picked up points across the board. In regards to the Rifkin reading, I think this subject has given me more inspiration to pursue my interest in digital fabrication. During the course of this semester additive 3d printing made global headlines for a couple of reasons: the first was to do with the 3d printing of an organ that could in future be used in a person and the second was that plans for a 3d-printed gun started circulating the internet. The later unfortunately received more attention, despite the fact that the 3d gun was about as primitive in design as the organ at this point in time. I mention this point to refer to some of the fear surrounding this technology that has been fueled by our sensationalist media. As designers we can play a huge role in helping this technology become accepted in wider society. The construction industry is inherently an industry that is inherently resistant to technologcal change. This comes from some of the politics associated with Trade Unions and developers being fearful of going out on a limb post GFC. In a world where the architect is increasingly being pushed out of the way in search of a lower bottom line and higher profit margain we’re continually having to push the boundaries of our profession and be at the nexus of change.
Coming into this subject I thought that I’d have a relatively easy time and that it would be heaps of fun. I was half right. Along they way I’ve had many sleepless nights and have done some great design work that I’m proud of. I’ve also made new friends and have used my past experience to help out many fellow classmates which in turn helped me learn a great deal. I hope to graduate at the end of this year and apply to Masters. i’m sure that some of the work I’ve done this semester will appear in my portfolio at the end of the year. - Darcy
One way we are doing this and which is mentioned in the reading is by helping to create a more sustainable future for the Third Industrial Revolution. Melbourne’s aim to increase urban greenery throuugh initiatives such as green roofs and walls is one way that architects can be directly involved with to help shape a better future. While this may seem like a trend, it is a trend that can have a positive outcome and should be in turn embraced by a profession such as architecture to be bought to fruition in the most effiecient way possible. I think that future architects will be start to consider themselves digital craftsmen more and more. This is because they strike the perfect balance between having a working knowledge of how things like CNC milling works and their solid background in design will fuse together to create a type of super-maker. It will start off small with an architect 3d printing a fork to eat their lunch with one day because they left theirs at home and will grow dramatically until 3d printers are available as commonly as ink printers (and the people that make and sell 3d printer cartridges will become incredibly wealthy).
Bibliography Module 1 - Ideation Poling, Clark (1987): Analytical Drawing In Kandisky’s Teaching at the Bauhaus Rizzoli, New York, pp. 107122 Tooling / Aranda, Lasch. New York : Princeton Architectural Press, 2006 Ball, Philip (2012): Pattern Formation in Nature, AD: Architectural Design, Wiley, 82 (2), March, pp. 22-27 Module 2 - Design TED talks - Thomas Heatherwick - (16min) http://www.ted.com/talks/thomas_heatherwick.html Scheurer, F. and Stehling, H. (2011): Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 (4), July, pp. 70-79 Module 3 - Fabrication Architecture in the Digital Age - Design and Manufacturing /Branko Kolarevic. Spon Press, London, c2003 Digital fabrications: architectural and material techniques / Lisa Iwamoto. New York : Princeton Architectural Press, c2009. Module 4 - Reflection The third Industrial Revolution / Jeremy Rifkin. Palgrave Macmillan, C2011.pp107-126 Building the Future: Recasting Labor in Architecture/ Philip Bernstein, Peggy Deamer. Princeton Architectural Press. c2008. pp 38-42