MODULE FOUR: REFLECTION STUDENT JOURNALS SEMESTER 1, 2013 VIRTUAL ENVIRONMENTS
Yiran Dong 580414 Tute 11 Faculty of Architecture, Building & planning, University of Melbourne
Content SEMESTER 1, 2013 VIRTUAL ENVIRONMENTS Module 1 Recipe Analytical drawings Emerging forms Models Light effect of the final model Module 2 Contoured physical model and Rhino final model of module 1 Model tests Problems and solutions The complete model in module 2
3-8 3 4 5 6-7 8 9-13 9 10 11 12-13
Module 3 14-18 New modules Fabrication Wires and lantern holding
14 15-20 21
Module 4 22-24 Faculty of Architecture, Building & planning, University of Melbourne
Module 1: ideation-Recipe:tiling
1. to set a point in the centre of every stone to represent the location of each stone 2. to take a set of points
3. to choose a point as the a center to connect with other
.
4. to construct a bisector between one point and all the others
points
6. to erase all the points and unnecessary lines
Reflection: in this section, I use the first stage of simplification in the reading of ‘Analytical Drawings’, to analyse the pattern. There are numerous rocks with any sizes and shapes in the pattern. It makes the pattern become very complex. Thus, I use the method of simplification to convert ' the whole complex' into 'one simple overall form' (Poling 1987). Sometimes, I treat a group of countless tiny rocks as a unit. Sometimes, I will also count the small rocks into the unit of its closest giant rock. Based on simplification, the second stage of analysis in the reading. can help me easy to find the basic rules of symmetry, balance and movement in next section.
5. the voronoi cell is bounded by the intersectio n of these bisectors
Module 1: ideation-Analytical drawings
The areas with yellow ink are the areas with big stones, the rest areas are filled with smaller or tiny stones
Analytical drawing 2: Balance Analytical drawing 1: Symmetry Reflection: This section, in fact, is the second step of analysis in the reading of ‘Analytical Drawing’, I use the step of simplification I learnt from the previous section of recipe to simplify the patterns in different ways to find the relationships of the different units. These relationships are included symmetry, balance and movement. Moreover, I make a 3-D extrusion of pattern, which is generated from the analytical drawing of movement, to find the base element of polygon and pentagon. Next, I use the two elements to make emerging forms in next section.
1. A point represents a stone 2.
My basic element: A pentagon and a quadrangle
Base element 3.
represent the space a stone occupies 4. The stones, which are on the edge is usually bigger than the stones, which are in the centre. It seems that stones are moving further and further when they are closer to the centre. Reduce scale
scaling
3-D Extrusion of pattern
Analytical drawing 3: Movement
Module 1: ideation-emerging forms Emerging form1 Top view
1. mirror
2. rotate by 360 degrees
3. Scaling: their ratios are 1: 2: 4
Bird view
Front view
Emerging form 1
Reflection: I use a pentagon and a polygon as the base elements to generate the two emerging forms. The two emerging forms illustrate the rule of the analytical drawing of movement that the closer to the centre is, the further and smaller the things are, I think that emerging forms generated from the pattern always need to link back to the pattern.
Emerging form 2 Top view Decreasing scale
1. scaling the pentagon
2. attach pentagon to polygon
3. rotate 360 degrees
Emerging form 2
Front view
Bird view
Module 1: ideation-models Simplification of Emerging form 1 The old emerging form is very complex. it is very difficult to be a part of more complex model. Therefore, I simplified it into the new emerging form, which indicates the same rule with the old emerging form. The rule is that it is getting smaller and further when it is closer to the centre.
Old Emerging form 1
New Emerging form 1
Model 1-based on Emerging form 1 It represents new Emerging form 1
Model 1 Top view
Front view
Top view
Small emerging forms 1 attach to larger emerging forms to encircle with my arm
Model 1
Reflection: Based on the two emerging forms, I developed my models further. I think that the emerging forms can be part of my model. Moreover, I will consider how to hold the lantern, so I can organise the positions and the order of the emerging forms in my lantern model.
Top view
Module 1: ideation-models Model 2-based on New Emerging form 1 New Emerging form 1
Larger Emerging form 1 will turn small Emerging form 1 around to form a lower level. In the end, these Emerging forms will become a cone shape
Model 2
Similar to emerging forms, the three models are trying to show the rule of analytical drawing of movement. In the three models, the emerging forms with large scale are usually far from the emerging forms with small scale.
Model 3-based on New Emerging form 2 Base element of Emerging form 2
Move the pentagon up to the top. Then, twist the pentagon downwards. The element will have a decreasing trend
Top view
Rotate the entire base element 180 degrees.
Put a element than other
base lower each
Model 3
Back view
Module 1: ideation- light effect of the final model In this section, I select model 2 as my final model. I choose the direct light to show the effect because other types of light, such as cut and layered light, will make my model effect become weaker.
Light effect I expected-overlap When I was building model 2, I purposely place emerging forms in same and different levels. Thus, the shadows can cross each other to form overlap effect. Figure 1 indicates the light effect of a single emerging form. Similar to glowing boxes, light will also pass though the material of model 2 to show beams of light. Some light might be blocked by the material of model to illustrate shadows. Figure 2 is the overlapped effect I expected. Shadows and light from different models will cross each other to become a new shape on the wall. The new shape will give people a new feeling towards my model. The overlaps between light and shadows form a new shape of rectangle
Figure 1
Figure 2
Light effect of part of the final model-overlap Part of the final model Like what I expected, the overlapped effect the final model had is reflected on the wall. Similar to the figure 2, the overlaps lead to various shapes of light on the wall
Reflection: in the section of light effect, I utilise the scientific method to test light effect. First, I made a hypothesis that the final model may have an overlap effect. Second, I do research of looking for similar artworks and photos to see how the overlap effect will look like. Lastly, I made a part of model 2 to verify my assumption of overlap effect. This method help people further understand the formation of the light effect of model 2.
Module 2: Design—make final model by using Rhino Making contoured physical model Model 2
The contoured model
Method 1: Using orthographic views to make contoured model
Rotate 90 degrees
Making the final model by using rhino Top view
Side view
In order to made Rhino model 2, I uses Panel custom 3D to paste New emerging form 1 on the contoured model
New emerging form
l
Reflection: In this section, I decide to use the idea of abstraction, which is mentioned by Scheuer and Stehling (2011), to show the information of the final model in module 1. I made a 3-D Rhino model to try to include all the construction information in the model. To put information all together will help me to see the overall effect of my model more clearly. When I finished the Rhino model, I discover that patterns in the modern are not connected. It means that this model is impossible to be built in real life. If I do not use the idea of abstraction at the beginning to make a 3-D model, I might find this problem after a long period of time. My step is to make a new model the new model should have both similar appearance and light effect with the final model.
Module 2: Design—Tests 1. the first test: Manage 3-D pattern and Panel 3-D grid .
Panel 3D grid
Side view
3-D pattern
Back view
2. the second test: the same method with a different pattern
Test heights of the pattern Side view
Top view
3. the third test: the same method with a new pattern
Reflection: In this section, I made many tests to see what effects different patterns can give me. I believe that though these tests, I will get the model i wanted. During the process, I does not only test different patterns, but also test different heights of patterns. Unfortunately, I still cannot get the model I really wanted. I think that there are two reasons why these models cannot achieve my goal. The first reason is that there is a seam in each model.
A seam
The second reason is that my pattern is actually extruded towards the centre of the model. Nevertheless, all the patterns in these models are grown on the surface. I think that I I must solve the two problems, if i want to make a similar model with the final model in module 1
Module 2: Design—Problem fixation 1. the solution
1. the first problem: seam X-axis
Y-axis
The old pattern
Consequence
The reason of causing the seam problem is the pattern does not start at the X-axis or Y-axis. If the pattern does not begin at the two axes, a seam will be left on the model surface Hence, it is essential to draw the pattern from the origin.
2. the second problem: the patterns are on the surface
The old grid
Consequence
In previous model, the heights of the patterns are positive, so their patterns are only on the surface. If we adjust the height to negative, the patterns will be at the back of the surface.
X-axis
Y-axis
The seamless model
2. the solution
The patterns are below the surface
Reflection: in this section, problems are solved. I will apply these solutions in next section. I realise that during the process of looking for the similar model with the final model in module 1, 1 actually use the mathematical methods of testing, questioning and solving problems. These methods normally are used to ensure the accuracy of answers in mathematics. Therefore, through these method, I might get the model, which perfectly fits all my requests.
Module 2: Design—complete models in this module The complete model 1-Library 3-D pattern + offset point +Panel 3-D grid
Surface domain number
Offset point with a distance 0f -5
Panel 3-D grid
Manage 3-D pattern
This model has a very similar appearance with my final model in module 1. The model is also like a stone land. It seems that each pattern is a rock.
I unroll the Rhino model. Then, I made the paper model to test whether it is able to be built.
Light effect The effect of overlap
Offset border,
Paper model making
unrolling
The shadow of a pattern is like a rock and the shadow of the model looks like stone land. This effect is exactly what I expect
Reflection: After solving all the problems, I begin to build new model. When I can be sure that his model has similar appearance with the original model, I start to unroll the model to make a paper model. This step can prevent me from making the mistake with the original model that the model cannot be established in reality. Next, I test the light effects to check the overlap effect, which the original model has. Besides this, I also discover that both the appearance and the light effects of my model can link back to my original pattern of stone land. Hence, I think that this model is a successful model.
Module 2: Design—complete models in this module The complete model 2- library 2 D pattern+ Fin edges+ offset borders
library 2-D pattern
Panel 2D grids
Model 2
Fin edges
Offset border
The failure of unrolling-twist and overlap Model 2
twist & overlap
front view
back view
This model is similar to the original model as well. The whole model is also like stone land and rock. However, when i try to unroll it, there are many twist and overlap on the top of the model. These twist and overlap cannot be solved. As a result, this is a failed model.
Reflection: in this module, the idea of abstraction encourages me to make a 3-D Rhino model. The method of making contoured physical model is also used to help me make a 3-D model. The establishment of a 3-D model can prove that my 'final model' cannot be built. Then, I made more tests to look for a similar model. Nevertheless, the problems of seam and patterns on the surfaces arise. After that, I apply their solution to two complete models to try to get the similar model with the final model in module 1. Few steps are used to check whether the complete models are successful similar models. First, I will check the similarity of the appearance of the new models and the original model. Second, I will unroll and fabricate them to see whether they can be built. Last, I will check whether it has the similar light effects with the original model. The complete model 1 is the only model, which achieve all my requests. Furthermore, it has a strong link with my original pattern of stone land. Just like what I said in module 1, my model should be always link back to the original pattern.
Module 3: Fabrication—Problem fixation and New models The problem of fabrication in module 2 Final model in module 2
2 layers
When I fabricate the model in module 2, I find out that the number of layers is inconsistent. While the part of two patterns meet usually has two layers, the part of no meeting patterns only has one layer. The inconsistencies between the layers of patterns will cause problems during the process of fabrication. Therefore, my new model needs to avoid the problem of overlap while keeping the similar appearance of my model.
1 layer
New models No overlap
This model has similar appearance with the final model in module 2 .
However, it seems that the lantern is too exposed. It might have no light effects, if we order light in this way. As a result, I decide to add a cover on the 3-D pattern in the new model so that the new model can have overlap effect.
New model 1 library 3-D pattern Reflection: in the third module, I still use the mathematical method of questioning and solving the problems to generate new model. The appearance and light effects of the model are all considered in the module. It is same with Kolarevic's opinion towards the surface strategy (2003). Besides of supporting the model, the surface of the new model 2 also has the other function of blocking the lights, which will result in the overlap effect.
Panel 3-D grid+ Offset borders
Plan to add light into the model
Offset borders New model 2
Panel 3-D grid
Generate a new 3-D pattern
Module 3: Fabrication—Unrolling the new model 2 New model 2
The lower layer ( New model 1)
Separate it into two layers
The higher layer (the cover)
Coloured the two layers in order to differentiate them
The higher layer
The lower layer
unrolling
Nesting
Reflection: This model is formed by 3-D patterns. It is very difficult to unroll and fabricate the model. Hence, I determine to treat it as addictive fabrication, which I mentioned in the reading of 'Architecture in the digital Age-Design and Manufacturing' (Kolarevic 2003). The new model 2 is considered to add a cover on the top of the new model 1. The cover is the addictive layer. Then, I separate the additive layer and new model 1 to make unrolling easier. Moreover, this reading also says that assembly is one of the hardest steps. It is because components might be mixed up. In order to prevent from mixing components, I coloured all the components to make sure that I can differentiate each of them. The two ideas in the reading help me in both unrolling and fabrication.
Module 3: Fabrication—unrolling and cutting
Add tabs and dashes
The higher layer
The lower layer
Printing by using cut cutter machine
Reflection: After I added tabs, I begin to think how to cut off these components . Compared to hand-cut, CNC cut cutter is a better choice. It is because many triangles, which needed to be cut, are in each component. It is impossible to be cut all of them by hands. Cut cutter can make my life easier and save more time. Then, the next thing I considered is the limitation of the cut cutter, which is talked about in Kolarevic's reading (2003). The cardboard, which I want to use to make the model, is in the range of the thickness and materials CNC cut cutter can cut, which has been given in the reading of 'Architecture in the digital Age-Design and Manufacturing' (2003). Therefore, in the end, I receive the well-cutted higher and lower layers.
Module 3: Fabrication-Process The lower layer
The higher layer
The lower layer + the higher layer The higher layer
The lower layer
The lower and higher layers
New model 2
Module 3: Fabrication—Problem and solutions 1. Problem 1-distortion caused by extra materials
1. Solution Flat surface
The extra materials
Distortion
2. Problem 2- the obvious seam between two parts
My solution is to remove the triangle to eliminate the extra ,material
2. Solution
The tab on the right This is the way of plug the upper layer into the down layer. Red represents tab. The tab on the left
the obvious seam
The solution is to change it from two sides to one side tabs
This is the new ways of making model
Invisible seam between two parts
Reflection: when I finish the first model, I realise that there are many problem in the fabrication of the model. After that, I use the mathematical methods of questioning and question solving to improve my model.
Module 3: Fabrication—modification and unrolling New mode 2
l holes
The modified model
New model 2 is derived from the final model in module 2. One of the important points of the final model is that both appearance and effects are similar with my original pattern of stone land. Similar to the final model, New model 2 can also reflect the original pattern on its appearance that each pattern in the model represent a stone in the stone land. Kolarevic's reading (2003) inspires me that I should look for the right material in the model to make it perfect. Hence, when I heard that we can also use black colour cardboard in the same model, I start to think of filling up with the holes between patterns in my model by using the black paper. The black cardboard will be like the soil between rocks in a stone land. Its property of blocking light might also give me a surprised effect.
Fill up holes with black paper
Unrolling the modified model
Reflection: in this section, other material are also taken into consideration to improve my model. In fact, I do not only consider the appearance of the black cardboard, but also thinks of its property. Besides of its black colour appearance, it can also block the lights. I think that it might give a new light effect to the lantern. Also, all the components of my models has been coloured in order to prevent the assembly problem, which is mentioned in Kolarevic's reading (2003).
I unroll the modified model and use the solutions into it. I remove the triangle from the higher layer to prevent the extra materials. I just add tabs on the right side only to make the seam become invisible.
Module 3: Fabrication— more fabrication and light plans More fabrication The lower layer
The modified model
The higher layer
Front view
Side view
I connect them in this way ( red represents tabs)
Back view
Light plans-overlap 1. the first light plan The light effect in this plan is not natural. It also does not fit to my basic rule of my pattern that stones are getting smaller and further when close to the centre.
2. the second light plan The light effect in this plan is natural. The light becomes weaker when it is closer to the centre. It just fits to my basic rule of my pattern. It gives us a sense that light in the centre is further from the light on the side. Therefore, I choose it as my final light plan.
Reflection: in this section, I fabricate the model by using the way, which I provide in the solutions. The improved model becomes tidier and more flat. After that, I begin to think how to place lights to achieve the best overlap effect. In lecture 10, the lecturer reminds us to link back to the original pattern. Therefore, compared two plans, I believe that the second plan is better. It is because it is more related to the basic rule of movement of my pattern. Its effect is also more natural than the effect of the first light plan. This section considers both fabrication and light plan
Module 3: Fabrication—wires and lantern holding wires
lantern holding
wires
This is my wire plan. I expect that these wires can be part of my back view
Reflection: When I can be sure where to place light, the next problem is how to place wires. I think that my wires should become a part of back view instead of ruining it. In addition, these wires also become a holder to allow me to hold the lantern.
The back view of the model with wires
Module 4: reflection-light effects light effects on the lantern
light effects on the wall--distance from small to large
Reflection: After the completion of wires and fabrication, I begin to test light effects. The light on the whole lantern looks very natural. Furthermore, the light passed though each level of patterns to form the effect of overlap. The shadow on the wall can prove it. When the lantern is closer to the wall, the overlap effect is weaker. This is why we can see clear triangle shape on the wall. When it is further from the wall, more overlaps occur. Hence, we can see these changes on the wall. Surprisingly, the lantern also forms a picture with the wall to give me a new impression. Moreover, when I review the model in the first module, this lantern has similar appearance and light effect with final model in first module. This is what I pursued at the beginning. In addition, it is also has a strong link with the original pattern in both light effect and appearance Therefore, I believe that this is a successful model.
Reflection-Week 4 In the reading of ‘The third industrial revolution’, Rifkin highlights the changes from the first industrial revolution to the second revolution. He also makes prediction to the third industrial revolution. He believes that the society will change from centralized and gigantic economy to collaborative economy. In fact, many benefits the third industrial revolution will bring, which are mentioned in the article, has been experienced by me in my last 10 weeks. At the beginning, I think that it is difficult to describe the effect I wanted to show on my design. All my sketches and words are too weak to explain the effect to others accurately. However, the artworks and photos, which are shared by many great artists, photographers and designers, saved me. The similar effect on the photos can well-explained the effects I expected to see on my design. The overlap effect and The Urban Cactus in module 1 are good examples to prove this. Moreover, when I was struggling with drawing the 2-D picture of my final model in module, the software of Rhino solves the problem. A 3-D model, which contains much complex information, was made by using the software. Though the model, I found a problem that the final model in module 1 cannot be built in reality. The digital technology in this section helps me abstract complex information and detect problems. Furthermore, digital technology is also contributed to fabrication. My new model 2 in module 3 is very complex and many patterns are on it. It is very difficult to make such a model by using hand only. I might cost much energy and time on it if I make it by hand. In this time, grasshopper and CNC cut machine are provided to save my energy and time. Unrolling and pattern cut are all done in few hours. Besides this, I think that if I can use 3-D printer, which is mentioned in both lecture 8 and this reading,i might be able to save more time. In fact, during the process of fabrication, I spend at least twenty hours in assembling and pasting the components. If 3-D printer can be used, less time and energy will be spend on fabrication. Hence, the digital technology is really helpful. Much energy and time are saved. It also helps us in abstraction of information and describing design effect. In second reading, the differences between craft and industrialization are discussed. Industrialization refers to high certainty, mass production and automation, while craft are believed as ‘workmanship of risk’ (Deamer & Bernstein 2008). In other words, the objects, which are produced by industrialization, can be copied and reproduced. However, the object, which is made by craft, cannot be replaced because there is a high risk of causing the differences between two same objects. The process of printing components are been seen as the opposition to craft because the components can be printed by cut cutter numerous times without any differences. In module 2, I create many library patterns in order to get the model I wanted. Once I create a library pattern, panel 3-D grid will copy many same patterns on the model surface. This is no risk of ruining any pattern. Thus, using panel tools to test different patterns on the model during the design process is also against the theory of craft. Although there are many industrialization processes are included in fabrication and design process, a degree of design risk also exits in my work. During the fabrication of gluing different components, I must carefully control my mood and my hand, so I will not have hand shaking. If I uncarefully drops PVA glue on the model surface, all my model will be ruined Some risk actually are also in the design process that the different number of grids might give us different effects due to different number of patterns. Therefore, I think that my working process is a combine of industrialization and craft. Industrialization gives us certainty and mass production. Craft gives us variability and risk. .
Reference Ball, Philip, 2012, 'Pattern Formation in Nature: Physical constraints and self-organising characteristics', Architectural Design, vol. 82, no. 2, pp. 22-27. Kolarevic, B 2003, Architecture in the Digital Age – Design and Manufacturing, Spon Press, London. Marble, S 2008, 'Imaging risk', in Bernstein, P & Deamer, P (eds), 'Building in the future: Recasting Labor in Architecture', Princeton Architectural Press, New York, pp.38-42. Poling, C 1987, 'Analytical drawing', in C Poling, Analytical Drawing In Kandisky’s Teaching at the Bauhaus Rizzoli, Rizzoli International Publications, New York, pp. 107-122. Rifkin J, 2011, 'Distributed Capitalism', in J Rifkin, the Third Industrial Revolution, Palgrave Macmillan, United states, pp107-126. Scheurer, F & Stehling, H 2011, 'Lost in Parameter Space?', Architectural Design, vol. 81, no. 4, pp. 70-79.