BODYSPACE 2 by VE Admin

BODYSPACE

cohesion A D A M

R O G G E R O

5 3 7 5 6 8

S E M E S T E R

2 ,

2 0 1 1

G R O U P

abstraction and extraction

Because my main interest in solar flares was its uncontainable energy I attempted to draw emotiondriven abstractions in the form of psychograms whereby I tried to capture the energy of the flares. Unfortunately the exercise failed to yield useful results. Discovering that raw emotion did not appeal to me as the sole method of extracting workable ideas, I wanted to try and include rationalization in my exercises.

solar flares

My second proposal was of magnetism, specifically magnetic fields. These fields are emitted from the two “poles” of magnetized materials and create fascinating curved patterns around the object. These fields cannot be seen to the naked eye yet they can cause materials to form beautiful patterns and structures. A great example of this, pictured to the left, is artist Sachiko Kdama’s use of a changing magnetic field to influence the shape of Ferrofluid in order to create sculptures. My main focus for magnetism was on the invisible “paths” that were created by magnetic fields. Instead of simply relying on emotion, this time I attempted to extract the idea of these “oathways” and represent them in the form of more abstract sketches, but I was not happy with the final results. While I was still interested in exploring rationalization and thematic extraction in my work, I decided not to be influenced by emotion in my final, and successful method.

magnetism

Water droplets demonstrate form-holding capabilities as a result of the attraction between the liquid’s molecules. Cohesion prevents the liquid from scattering or deforming due to gravity and other outside forces. Looking at video and photographic imagery of liquids that exhibit strong cohesive properties, I was able to extract two very distinct “parts” or “themes” that could be seperated and analysed individually as completely different, yet utterly cooperative traits of cohesion. The first idea could only be seen in video imagery that depicted interacting droplets of liquid. When two droplets of liquid come into contact with each other, or when a large drop of liquid is broken into several droplets, elastic “connectors” are produced. These “connectors” provided me with my first big theme that I wanted to incorporate into all aspects of my project. The backdrop shows an exaggerated visualization of these forms. The second idea can be seen everywhere. Cohesion gives a liquid the ability to hold itself together and support itself against the effects of gravity and other forces. This results in the well-documented “droplet” form, wherein a collection of the material is held together simply by the attractive forces produced by the material’s molecular make-up. This produced interesting rounded forms, visualized in the backdrop. Form was not my main focus, however. I was more interested in the idea of an entity holding itself together.

cohesion

engender

My first proposal was of the huge arcs of plasma that our sun regularly expels into space. Heat, light, magnetic forces and an incomprehensible amount of energy is blown from the star into the emptiness of space in the shape of loops and curves. This release of energy can produced some very interesting visuals and I was fascinated by the idea that the sheer energy of the sun could not be contained in one space.

My third and chosen proposal was of the cohesive properties found in liquid. We see it all the time in water, and it shapes our environment in subtle, yet profound ways. What interested me most about this process was the idea that a natural attraction exists within all things of like characteristics, as if these things were meant to stay together.

abstraction and extraction

solar flares

magnetism

cohesion

engender

simplification of core themes

Several explorations were made into producing a usable form from my natural process. From the lectures I was inspired by leaders in design such as NOX, the pioneers of abstraction and experimental form finding, and Picasso himself, who explored simplification as a way of stripping an entity of everything by the most important core ideas.

Combining these two ideas led to a generated complex form. It turned out to be not at all what I expected, and I had no idea where I would take this new form, but I was happy that it was not just a random form and instead had some meaning behind its creation. Aesthetics would come later.

simplification

randomization

Picassoâ&#x20AC;&#x2122;s studies of a Bull from 1945 to 1946 explores the simplification of a complex object into its most elegant form. Whereas Picasso stripped a bull into the most essential of lines and shapes I managed to simplify my natural process into simple circular representations, representing the material mass, connected by lines, representing the unseen attractive forces that affect all molecules.

2. In my research I found work by Jared Tarbell, an artist that specialises in algorithmic-based graphics. One particular work, called â&#x20AC;&#x153;Node Gardenâ&#x20AC;?, used randomization and vector curves to create very similar to my final outcome.It even resembled the aftermath of an explosion of liquid droplets after impact.

engender

precedents

simplification of core themes

simplification

randomization

engender

precedents

into the physical world

3. I found my methodology extremely similar to that of NOX;. In their projects Son-O-House and Soft Office, NOX uses physical models and simple ideas to create dynamic and complex forms. What I had done was essentially the same, I manipulated physical object to create my final form. This method of form finding grounds the project in a single didea, which I found to be very important for successful design.

clay

How was I to bring this idea into the physical world? What I had was a two dimentional “map” that was the product of my process and form finding exercises, What I had to do now was create solid form for me to use as the starting point of my model. My first attempts used clay to create solid form, using a printout of my molecule “network” as a base for modeling.

The results were not what I was looking for. Although quite interesting, it was far too complex for modeling. I was looking for something a little more elegant, and I found it by simply printing out the molecult “network” and folding the paper into a sort of wave form. Although unconventional, I liked the idea of using the network to create a “mesh” of interacting molecules.

engender

paper

into the physical world

clay

engender

paper

and into the virtual world

accurate digitization

Then, by raising certain points and connecting them in them as I did with my physical model, a reasonably accurate digital model could be created. Because I simply raised each point arbitrarily until I was happy with the results, this digitization was far from being a perfect representation. It was, however, the best I could do in my particular situation.

Having been given the chance to assess what I had created, I became aware of my modelâ&#x20AC;&#x2122;s glaring lack of form and shape. I knew I had to drastically alter this result if I wanted to create anything compelling. Up to this point I had been following a rigid process without giving much thought to the final outcome. Now, I decided it was ti me to take the step of moving away from my flat mesh idea and towards something different.

digitization

I imported a background bitmap image of my physical model and used it to accurately map out each â&#x20AC;&#x153;moleculeâ&#x20AC;? as a range of points. Having a bitmap iamge overlayed on top of my model as I began constructing it helped me keep in mind what the points in represented, and it allowed me to distinguish between different molecule sizes.

and into the virtual world

accurate digitization

digitization

altering the model

g creatin

form

mapping

extraction

stacking

By connecting nodes in different ways, several shapes could be derived, each defined by the size of my model’s nodes. These connections are by no means random, however. They are determined by different relationships between the different droplet “sizes”. In this way I can create a compelling shape that retains a rational background process.

I wanted to complete my form in a meaningful way, and so I used a bubble to sculpt my lofted form. In this way I was able to incorporate my ideas of self-support and touches upon the compact nature of water droplets. This worked well but I wanted a more flowing shape. Using rebuild I was able to attain a much nicer, much more relavent form.

loft

digitization

further

meanin d n a ity omplex

altering the model

g creatin

form

mapping

extraction

stacking

loft

digitization

further

meanin d n a ity omplex

paneling surfaces I wanted to utilize paneling as a way to physically represent each part of my overall theme. Because the top of my shape was generated using the bubble it certainly related strongly with the idea of self-support and holding. I decided I would use this part of my form to represent smooth flowing liquid and movement. Thus I knew that 2D paneling was the way to go, and after exploring many styles I decided to make my own using a pattern that I thought drew the eye along the top of my shape, creating a kind of movement effect.

Initial panelling attempts failed because of miniscule errors caused by the “trim” action. Because of my methodology I had created a form that looked fine from afar but in fact had several major issues related to its endpoints. In order to fix this I would have to try and create seperate, single surfaces for both the top and sides of the shape using another method.

initial issues

the fix

exploring panels

Because I thought the sides related strongly to the idea of inter-connectednes and the inner complexities of a cohesive liquid, I decided to use 3d paneling for these sections. Most options were not particularly relevant but I found ‘partition’ to be the perfect option for my needs not only because it held the image of my initial “connectors” visualizations but also because it seemed to be the only one that I didn’t need to worry about how tightly packed the panels were towards the endpoints.

Similar issues were found when designing Neumünster Abbey. We learned in the lectures that designers were faced with a similar issue at the endpoints of their structure. While their workaround was a little different to mine it’s useful to know that working with physical limitations is extremely important in the design world.

In all I thoroughly liked the idea of having a combination 2D/3D model, and I was very happy with the fact that I had not ended up with a form that I could not rationalize and relate to my natural process.

digitization

I overcame this issue using the “contour” action and lofting the top and sides of my form. This created a working base for proper panelling, and having successfully separated each part I was ready to explore a wide range of ideas and themes relating to my idea.

initial issues

the fix

exploring panels

digitization

revisiting shape Next I called upon the ‘cageedit’ action, which gave me the tools to mold and alter my form in any way I wished. Whereas before I was blindly following a process I now had the chance to make my form look the way I wanted it. By dragging certain control points outwards and downwards I greatly exaggerated the corners so that they looked like they were drawing closer to each other. This also had the effect of making the sides look like they were being sucked into the centre of my object, which I was very pleased with.

Before construction I decided to alter my model so that the themes I wanted to explore were more readily visible. In altering my shape I was aiming to achieve a more “self-contained” and rounder whole, as well as heighten the sense of attraction within the shape. To do this I first called upon ‘scale1d’ to increase the height of my shape. This, I thought, successfully created a more “wholesome” effect. It not only made the shape look more tightly held together but it also helped show the roundness of the bubbled form much better.

exaggerating themes with scale1d...

After applying my panels I ended up with something that I could definitely liken to a lantern. It wasn’t without issues, however, Because not only were some of the panels far too small to make in the physical world, the top and sides did not meet at the same places along the shape’s edge. After much time working through these issues by editing and moving individual paneling grid points the shape was finally sound.

fabrication

...and cageedit

exaggerating themes with scale1d...

fabrication

...and cageedit

keeping track

My model consisted of a great number of individual pieces, I knew it was extremely important to keep track of them all in some way.

I came up with a colour coding system that made sense to me. Each piece had its own unique colour, and each colour had meaning in my mind as I flattened everything out. One side of my object, dubbed “Side One” consisted of the colours between red and blue the warm side), while “Side Two” were of colours in the green spectrum (the cool side). The top of my model was coloured so that the pieces closest to Side One was warmer than those closest to Side Two. This worked extremely well in my head but explaining it to others was far more difficult than I anticipated. It certainly showed me the challenges of keeping everything in order during a major project. Everyone doing the project has to be in the loop, and everybody has to know what they’re doing. This fact got me interested in Building Information Modeling (BIM), which is now being used for several major design and construction projects around the world. BIM is a system that contains all the data and information needed for constructing a project, from the support to the air ducts to the facades to the furniture, everything is included.

4. The Hilton Aquarium in Atlanta, Georgia is a prime example of successful BIM utiliatioin. To the left are several “layers” that were included in its final construction model. Had I been working on a project that required other people to know exactly where everything was, I would need a similarly flawless experience.

fabrication

coding r u o l co

keeping track

My model consisted of a great number of individual pieces, I knew it was extremely important to keep track of them all in some way.

fabrication

coding r u o l co

piece by piece top Constructing a portion of the top layering by hand I had the opportunity to alter my tabs in a way that affected the overall look of the lantern. The thin paper diffused the light perfectly, and to waste an opportunity to add detailing to my lantern would be crazy. I decided that I would design my tabs with planning and foresight for the final construction.

Before beginning construction, I experimented with what materials I should use to best present my lantern. I found that a thin card was required for my sides, because it provided a good balance between strength and flexibility. I also discovered that simply cutting halfway between each slit of card allowed them to firmly connect together. I wanted also to utilise material characteristics to enhance my lanternâ&#x20AC;&#x2122;s meaning. This is why I chose thin printer paper for my top panels, because its difused effect reminded me of the transparency of liquid.

Constructing the side paneling was far more difficult. My initial prototype was of a single side, but because I tried to cut out each piece by hand for protoryping, that single side took a few days to construct properly.

Unfortunately my prototype revealed a major problem with my unrolling. After so much time putting it together I found that the final piece didnâ&#x20AC;&#x2122;t fit. It wasnâ&#x20AC;&#x2122;t that the piece was faulty, instead I found that my entire model was out of proportion. I learned that I had forgotten to triangulare my panels before unrolling, but thankfully I now had the opportunity to go back and fix my model before final production.

fabrication

sides

fabrication

sides

final production

sides

I went back to fix and enhance my model, formatting my side panels for FabLab processing, I was able to have each piece cut out for me, which greatly reduce construction time. I had learned how difficult if was to keep track of my pieces during prototyping, and so this time I labelled each piece using a numbering system that helped me keep track of everything far more efficiently. Happily, everything fit together and was accurately propurtioned now.

For my top paneling, I went through a series of possible tabbing combinations that I thought would produce the desired effect. Many of them were not feasible but the one I chose seemed to relate to the idea of movement and even looked like my original teardrop-like shapes produced during conceptualisation. Doing everything by hand, I found the printer paper to be extremely fragile.

With a small amount of difficulty, I managed to seal the side and top panels together. I also decided to remove sections of the top paneling from my lantern so that I could place my hand through the centre. By placing my hand through these holes I was reminded of the idea of â&#x20AC;&#x153;holding togetherâ&#x20AC;? (quite literally).

fabrication

completed model

top

final production

sides

fabrication

completed model

top

fabrication

the finale

fabrication

the finale

looking back

reflection

I am not entirely sure where I stand with my final model. I did not expect it to look anything like what it does when I first began designing it, but I suppose this only means I was able to successfully turn a complex natural process into an abstract form. I certainly enjoyed the process, whereby I followed a strict design process so that I was able to rationalize my design decisions every step of the way. I learned so much from this experience about the importance of a strong design narrative and the challenges that face designers everywhere in bringing their ideas into the real world.

looking back

reflection

Virtual Environments

Elise Weavers 541738 Group 12 Semester II 2011

Contents

Engender 1-6 Digitize & Elaborate 7-13 Fabricate 14-23 Reflect 24-25

Engender

Exploration

Bubble Formation

The cellular structure bubble’s form is a phenomenon that has been structurally optimized by nature. The fragility of a single bubble compare to a formation is a very strong contrast and something I found very intriuging. Constructed cellular structures imitating naturally occuring ones are currently being used in the field of architecture for their efficient strenght and aesthtic beauty. I chose bubble formation as a natural process to learn and create from becuase of it’s optimized functionality in a cellular structure. A bubble’s dynamic properties allow individual cells to change forms and redistribute the density of the skin that creates it, continually optimizing it’s structure according to it’s environment. These dynamic properties make bubbles interact beautifully with light, reflections are constantly changing as well as illuminating the structure and also creating interesting shadows.

Precedent

Jackson Pollock

Drip Splash Paintings

Jackson Pollock’s ‘drip and splash’ techniques allow for experimenatal outcomes using some what controlled techniques. The only aspect controlled by Pollock is the action in which he releases the paint onto the canvas and the tool he uses to deliver it. The final outcome has been greatly determined by the properties of the paint he is using. The fluidity of the paint creates a dynamic and varying outcome. This technique could be translated into experimentation for my exploration of the formation of bubbles and their dynamic properties. The mixture of soap and water that creates the skin of a bubble can be mixed with paint or dye to create a bubble that can be printed on to paper and analysed. Because of the dynamic and unpredictable nature of bubbles similarly to Pollock’s techniques, I will be able to control which part of the paper I release the bubbles on to using a straw or bubble wand, but I will not be albe to control the bubble once it has left the tool I am using.

Experimentation

Bubble Formation

The results my ‘drip and splash’ experiments gave me insight to the properties of a bubble and ways in which I could translate this into a design. The lack of control allowed me to understand and analyse the performance of the bubble in a broader context and was affected by any preconceptions about their properties, such as, they float and are round. If I stuck to analysing what I ‘thought’ a bubble should be the results would be predictable and boring. The most beautiful thing I found from my experiementation was the different weights and pattern created from the dye when the bubble burst onto the paper. The darkest dye was where the thickest skin of the bubble was. I interpretted these patterns into the design below, the cut’s in the model representing the distribution of the dye after a bubble had burst. I chose to move away from this concept, although I had created some interesting results I felt focusing on just the dye patterns was not the most interesting way to respond to the brief of the assignment and left out other extremely important aspects of the bubble such as the cellular structure.

Refinement

Bubble Formation I returned to the cellular structure bubbles form in groups and envisaged great opportunity for design development within Rhino with the panelling tools available. A second design was created (figure 1). I find the design very two dimensional and has a low imapct, the position of it I believe will be a very common one. This is not the result I was looking for from my design, so I continued to refine it. The design I create must fulfill two criteria, it must be illuminated and interact with the body. I reflected upon my experience with bubbles, as a child poking and bursting floating bubbles, attempting to catch them. Picking up thousands of bubbles formed by detergent and moudling them in my hands. I noticed a connection between bubbles and the human hand, the excitement of holding something so fragile and beautiful in your hand. This lead to the positioning of my model (Figure 3). I kept the pattern I had created in figure 1 as I could see itâ&#x20AC;&#x2122;s potential for development in Rhino and reflected the cellular formation created by a group of bubbles.

Precedent

Beijing Water Cube

Bubble Structure in Construction

The Beijing water cube concept, design and structure was created by Arup, Architecture firm PTW and the CSCEC (China State Construction and Engineering Corporation) and the CSCEC shenzhen design institute (CSCEC + Design). Inspired by the performance of soap bubbles, the beijing water cube is a perfect example of the cellular formation of soap bubbles being used to simultaneously form the structural and aesthetic components of a building. This reinforces the strength and efficiency of the geometry of the bubble cell formation. The water cubeâ&#x20AC;&#x2122;s cellular structure was digitally designed using repetitive patterns while creating a structure that seems organic and random. The end result is a very light weight but extremely strong building. This example gives insight to the way I can optimize the way my model is designed. The design program we use, Rhino, is capable of creating similar patterns using panelling tools. Learning from the technique used to create the water cube, my panelling will be able to be a series of repeated patterns and still give a random and organic effect.

Digitize

Digitisation

Contouring

My contouring process was quite straight forward and successful on the first attempt. The lofted form derived from my contours was not exactly the same as my clay model. It had some extra bumps and imperfections, probably from my inacurate tracing. I chose to keep these imperfections as I saw they added to the natural and random seeming object I was aiming to create. If it was visible my model was designed using strict parameters it would impact on itâ&#x20AC;&#x2122;s reflection of my natural process. If I were to go through this process again I would have labelled and placed a scale on the contour pieces before importing the image into Rhino. Once I imported the image into Rhino I only had a rough idea of the scale, this was not that important as the model can be easily rescaled to any size within Rhino.

Digitisation

Panelling

Trialling different panelling options with Rhino I found the most sucessful ones to be those that incorporated a cellular design as they most closelly represented my natural process. Some of the other panelling trialed such as the triangle and box patterns distorted the fluid shape of my model creating sharp edges. These types of panelling did not reflect my natural process however is was interesting to learn the way different panels would adapt to the shape I had created from the contouring process. Using 2D custom panelling with finned edges created the cellular structure that closely reflected the bubble formation structure. I envisaged the finned edges creating a tunnel like affect that could be used to create dynamic shadows with the lighting I would use.

Digitisation

Prototype

Prototyping provided great insight on the challenges I may face and rationalisations I would need to make to realistically build my model. I had observed some previous students work and noticed a frame creating the basic lofted shape being used then clad with the panelling. I trialled this, but found my panelling to be too translucent and the frame took away from the cellular pattern created. Having the frame would also impact the shadows created by the lighting. Reflecting upon my natural process I decided it would not be necessary to have a frame beneath the cellular structure as the cells pressed against each other work together to distribute a load and form an efficient structure. I trialled this (figure 1) and the results were far more aesthtically pleasing, however making individual octagons and joining them proved very time consuming and would not be realistic for the time I had to build the model. I made valuable discorveries from my prototypes however I believe they may have been more beneficial if I had of been able to unroll and prototype an actual section from my design in Rhino. As I was still refining my model in Rhino, I did not have the opportunity to do this.

Digitisation

Rationalising

My realisations from prototyping lead to a series of rationalisations to solve some problems such as a very complex and time consuming panelling design. I chose to simplify my panelling from an octagon to hexagon. This would reduce the number of faces in my model which would save time in the construction and unrolling process. I also refined the panelling grid I used making it less dense. This would also cut down on the construction time and make the cells bigger, this would be less intricate to work with, making it easier to build. I chose to rationalise these elements as they would reduce the complexity of my design while keeping the aesthic elements that reflected my natural process.

Digitisation

Final Design

Precedent

Matsys

Honeycomb Morph This project utilises parametric digital design to trial many different outcomes using slight manipulations of parameters to find a favoured outcome. This process is very similar to the process used when we trial with different panelling options. Many designs can be generated quickly and manipulated and altered. Matsys has experimented with panelling on curves surfaces, extruded panelling, focusing panelling on different areas of the surface and visualising them through a render. The Matsys Honeycomb Morph uses very similar panelling to what I used for my final panelling with a cellular structure and finned edges and provides many examples of design outcomes I could have trialled. For example I did not consider the effect of layering two panels over each other. If I were to go back and panel my model again I would untilise and experiement with the manipulative tools such as control points as this precedent has shown there are many variations in aesthetics possible by altering the parameters of the same panelling pattern.

Fabricate

Precedent

British Museum Great Court Foster + Partners

This example shows a solution to a similar issue I have found in my project. Working with and fabricating a model with curved geometry is extremely complex with most materials. From previous prototyping it was evident using paper or card to create doubly curved surfaces is not a plausible option for the nature of this model. Foster and Partners came to this realisation with the curved geometry of the glass roof of the Great Court of the British Museum. To overcome this difficulty the curves of the roof were simplified into triangular faces within a frame. The ‘geometrical definition of the roof consisted of two parts: the shape of the surface and the pattern of the steel members upon that surface.’ (Williams). A triangular grid was chosen as it ‘avoids the need to produce either flat quadrilateral panels or curved glass’ but allows the aesthetic curves to keep a similar shape. This triangulating technique proved to be a useful solution to the problems I faced with curved surfaces in my model. The triangulate function was applied to my model to divide curved faces into smaller triangulated faces that were flat. This avoids the need to attempt to curve paper which will aid the fabrication process. Although this technique has solved many structural and fabrication considerations the triangulated effect does influence the aesthetic look of the model. The original curves can become quite crude if the triangulated panel is quite large making abrupt edges that take away from the fluid effect of the curves. Using many small triangulated faces proves to be the most optimal solution to keep most similar curved surface.

Fabricate

Refinement for FabLab When I was forced to look at my final model closely and analyse how it could be unrolled it was evident there were several issues that needed to be resolved before I could move on. A setting in the panelling had caused all the cells of my model to be skewed in one direction causing intersecting and bent faces. I was forced to go back to the panelling process and repanel my model to rectify this. The issue of the skewed and intersecting faces was resolved but there were still curved faces. Our models were to be build from card or paper, these materials can not be bent or curved in a constrolled way. Because the materials we were restricted to using had limited propeties these faces had to be rationalised into flat surfaces. To over come this the triangulate faces function in Rhino was used. I was under the impresssion my design was finished until I was forced to look very closely at itâ&#x20AC;&#x2122;s structure for the unrolling and construction process. If I did not have to unroll the model to be made these construction issues would never have been identified. This may be seen as a limitation of digital design as you can design any object of any shape and structure however they are not always possible to be buil

Rather than doing vertical strips as shown in tutorials, I chose to unroll my model using horizontal circles, colour coded and numbered. I chose the horizontal unrolling as the flat faces of the hexagons lay horizontally. These would be the faces I would glue together in the construction process. The unrolling process proved to be very time consumig and challenging for someone with very basic Rhino skills. I found it difficult to always be accurate in my selections resulting in an oddly shaped piece that had to be repeated. Some pieces overlapped when unrolled as the curve they created was too tight. These pieces had to be separated into halves which could be joined in the construction process.

Fabricate

Documentation

The file I submitted to the FabLab was missing two things I believe would have made the construction process more efficient. I did not include any tabs on the end of my pieces, this resulted in me having to make my own in the construction process which was time consumin and also looked messy. The labels I used in Rhino to show the position of each piece when joined to the next were not included. This meant I had to manually check and match up faces that were the matching ones for each piece which was also very time consuming. I would have been very easy to include both the labels and the tabs and would have saved time in the construction process. The coloured and numbered instructions made it very clear and easy to identify the order the pieces fit together. However I could have found a more effective way to instruct the exact faces that should be glued together.

Fabricate

Construction

I faced a few issues in the construction process, mostly caused during the documentation but were not identified until fabrication. For example, joining edge to edge is a very weak structural component and even small amounts of stress can cause them to come apart. Another issue was the paper buckling and bending when manipulated into place because of the stress it was under. While in Rhino the 3D model is not placed under any stress, therfore these issues could not have been indentified until the construction process. These issues may have been able to be identified earlier and resolved if I had have prototyped a section of my unrolled model earlier before building the final one.

Fabricate

Constructed Model

My final model was quite sucessful and was very similar to my 3D digital model. I found I was very satisfied and pleased with the overall result. The nature of my design allowed the imperfections to blend in and add to the random, natural, fluid effect of my model. The structure of my model reflected my natural process well as it is dynamic. It is possible to bend, stretch and squash my model to some extent, similar to the way a formation of bubbles can move around eachother and reform into different shapes and formations.

Fabricate

Lighting

I had two objective for my lighting. I wanted the entire model to be illuminated and I wanted to create dramatic and eye catching shadows. I trialled two ways of lighting my model. The first was with an LED circuit with two lights positioned like spot lights lighting up my model. I found the results to be unsatisfactory. Two LEDâ&#x20AC;&#x2122;s were not enough to illuminate my entire model or created strong shadows. Another issue was attatching the lights with wires connecting them. The wires were clearly visible and distracted the eye away from the detail of the model. To overcome this I decided to use four LEDâ&#x20AC;&#x2122;s attatched to individual batteries. the increased number of lights successfully illuminated my entire model and were strong enough to create the dramtic shadows I was aiming for.

Fabricate

1:1 Model

Precedent

Matsys

Honeycomb Morph The documentation and fabrication process used for the Honeycomb Morph installation was very helpful in deciding the way to unroll and construct my model. The Honeycomb Morph uses hexagonal panelling as the structure of the piece similar to my model. To unroll and document the Honeycomb Morph, Matsys realised the flat faces of the strips needed to be joined. To ensure this a rule was developed for unrolling; 3 sides or half of each hexagon would need to be included in each strip to ensure the flat faces would lie on top of each other when it came to the construction process. I was able to learn from this process and used the same rule when unrolling my model. This was a successful technique to use, however because the Honeycomb Morph was not a circular form the project was able to be made in strips with clear ends. I had to include extra documentation to ensure the right ends met up for my project. To construct the Honeycomb Morph the installation was built from the botton up, joining strip on top of strip at the face of each hexagon. After joining corresponding strips together, I used the same technique starting from one end of my model and joining the next piece on top.

Reflection How do the techniques introduced in this course impact contemporary professional design processes? The contemporary techniques introduced to us in this course such as parametric/digital design and experimental design approach have led to the development of some very influential and interesting architecture and installations. A technique such as parametric/digital design allows 3D realisations to be visualised through rendering from every angle in a way analogue design never could. A model can be drawn up in a far more efficient and accurate way than a hand drawing and alternate layers can be visualised in one file unlike the pages and pages of drawings traditionally used. Parametric design allows manipulations to be trialled and experimentations to be observed without having to regenerate the model from scratch and is extremely efficient as the entire mode will be updated accordingly. For contemporary design processes this means there are no restrictions on possibilities of shape or form which has lead to experimental archtecture and forms being created rather than traditional structural components. This can lead to some issues because of the lack of restrictions, designs can be made that may not be realistic to be built. Models created in 3D are not under any stress or bearing any loads, therefore performance of materials can not be shown. A design that can not be supported structurally can not be built. Digital models need to be able to be tested for performance and efficiency before being fabricated. However the use of digital and parametric design has encouraged the development of new materials and new structural components to support the new unconventional forms now being developed. For example the free form design for the Glasgow Museum of Transport (Zaha Hadid Architects with Buro Happold). No already existing form of structure was able to support the multiridge geometry of the roof over such a wide space without the use of columns. This issue was over come by rationalising the design and used the inclined planes of the roof as folded plates to become a series of inclined trusses which formed the supportive structure. The roof was then assembled as a kit of prefabricated parts. Experimental design approach like the process we have undertaken has been a very bottom up approach opposite to traditional top down approaches. A bottom up design process does not begin with a design, it begins with an analysis of a purpose or inspiration. For us it was a natural process we then interpretted into a form that was then manipulated and changed then detailed, refined and panelled before a design outcome was created. The outcome at the start of the process is unknown, therefore not restricted to any preconceptions of what it should look like. This allows for a far more experimental original design. Techniques such as the Kinetogram used by NOX to create the Son-O-house are an example of this bottom up approach. Where a tool is formed to describe and analyse the process of a body moving through a house to then create a space interpretted from the results.

Traditionally design have been created as the first step. This approach is not used by experimental design firms as the preconceptions and ideas a person holds influence and restrict the outcome and design they will create. For example if asked to design a house, the designer knows a regular house is has several separate rooms with designated purposes for each room. This preconception of what a house is will automatically lead them to design something similar because â&#x20AC;&#x2DC;thatâ&#x20AC;&#x2122;s what a house isâ&#x20AC;&#x2122;.

Reflection What are the learning outcomes of this course and its relevance to your furhter studies and creative work? I feel every outcome I have had for this project has been valuable whether it was a sucess or failure because I learned a lesson about a technique or I gained a deeper insight to a process and itâ&#x20AC;&#x2122;s relevance to the design process. Although I did not realise, I held a lot of preconceptions and ideas about what it was to design before I had learned anything about it, just like most people. I thought of design as the top down approach I discussed earlier. Designing a model derived from a natural process seemed absurb, how could experimenting with bubbles lead to creating a lantern that sits on the body? Reflecting on my attitude towards the bottom up design process at the start of the semester, I find I hold a very different opinion now. A natural structure such as bubble formation, or the skeleton of an animal, or leaf of a plant are all optimized and efficient structures developed and perfected over thousands of years through evolution, and humans and designers have been learning lessons from these naturally optimized structures for years and incorporating them into designs. We are still learning lessons from nature today and refining our built structure in the same way as natural evolution. More and more architecture and design firms are imitating nature to create new structural components and building efficiency. For me deriving a design based on a natural process has lead to an efficient and interesting design that has not been influenced by preconceptions of what a lantern should be. I believe parametric design and digitization have been some of the most relevant skills for future practice in design I have gained this semester. As already discussed being able to translate a design into a digital form and alter it using parametrics is one of the most efficient ways to communicate and understand a design. In design we must always be looking at how we can do something better, how can we optimize this design, what will be most efficient? And for many design practices digital design has been the answer. Although digital and parametric design is still quite a new concept itâ&#x20AC;&#x2122;s impact on design has been too valuable to ignore and has the potential to take over all analogue documentation. As mentioned, in design and fabrication the most efficient process and design must be sought. There are several aspects I have learned that must be considered when preparing a design for fabrication. These include; realising the constraints of your materials, acknowledging your own skills, utilising the resources available to make the process more efficient and planning to a timeline. This sometimes requires the design to be refined or simplified to ensure the design is capable of meeting requirements by a deadline. For this project I was forced to consider all these aspects. My design was refined and simplified due to the constraints of using paper to construct the model and the short amount of time I had to build it. I knew I only had basic skills in model making and would not be as efficient as an automated machine, so I made use of the card cutter as it is far more accurate and efficient. These considerations are relevant to all designs and will be always be influencing factors on any project in any of my future design and creative work.

MODULE 4 VIRTUAL ENVIRONMENTS 1008 TOBY WOOLLEY 389110 SEMESTER 2

CONTENTS ONE: E N G E N D E R 3 - 10 TWO: D I G I T I Z E & E L A B O R A T E 11 - 19 THREE: F A B R I C A T E 20 - 32 REFLECTION 33

MODULE 1 ENGENDER

MODULE ONE

Visual explorations in to light

P R E C E D E N T S

FINAL NATURAL PROCESS IDEA: Dinoflagellates

Kengo Kuma’s Oribe Tea House

Lights relationship with material

Tesselating integument

Aggrevation and illumination

WEEK TWO

Exploration in to dinoflagellates

WEEK ONE

Initial Natural process ideas

D PROCESS E S I G N

ALL INFORMS MODULE 2

Final analogue model

Uniformity of form

Fracture of form

Idea generation

WEEK THREE

Exploration in to dinoflagellates

Structure is body Kengo Kuma’s shelving system.

Coop Himmelblau’s pavillion 21 Fracture of form

FORM / FUNCTION DARK / LIGHT

INITIAL STUDIES: FIGURE ONE: Initial Lantern studies into materials relationship with light

LIGHT ‘the natural agent that stimulates sight and makes things visible’ (New Oxford American Dictionary)

FIGURE TWO: Initial studies into materials relationship with light

INITIAL STUDIES:

I conducted further studies trying to understand light and dark with the use of light itself. As the lantern was to have LED lights I wanted to experiment with ideas of folding and massing of paper and how that changed the intensity of ‘light’, understanding the materials relationship with light. (Figure 1)

FORM / FUNCTION The first step I took in my Virtual Environments journey was to understand the origins of the word lantern: Ultimately they arise from the Greek word lambein or ‘give light’, to ‘shine’.

My initial studies were trying to break down what a lantern was, it was light and dark, black and white and shades inbetween.

ABOVE: Initial studies into light as black and white

I wanted my natural process to be something that ‘gave light’, I wanted the form to represent the function. I wanted to create a lantern where the form was a direct response to light. The idea of ‘form following function’ (Sullivan) has ABOVE: Initial studies into transition between black and white been an inherent consideration by numerous modernist architects of the 20th century such as Le Corbusier, Mies Van de Rohe, and Alvar Aalto - albeit with different motivations and implementation of the term it was still this term that motivated me on my initial studies. My first process was to create visual representations of ‘light’ without the use of ‘light’ itself. These initial studies were trying to understand the identity of black and white as ‘light’ and/or ‘dark’. ABOVE: Initial studies into contrast between black and white

The other study I conducted was trying to represent the ability of dark to cut through light and eventually completely block out it out through the use of different materials covering a light source. It was trying to further understand lights relationship with material and vice versa. (Figure two) Both studies are not dissimilar to Kengo Kuma’s Oribe Tea House. Both studies are looking at materiality and the changing relationship with light. Both studies looked at illumination of form and lights ability to create visual difference across a singular material, and exploring its levels of transparency.

NATURAL PROCESS IDEAS LIGHT

AGGRESSION

LIGHTNING

OF LIGHT

ATTRACTION & REPULSION

ATTRACTIVE & REPULSIVE

BIOLUMINESCENCE : Light created through nature FIREFLY MOVEMENT

MOVEMENT OF LIGHT/FORM

LUCIFRASE & LUCIFERIN

CALM REACTION FATIGUE

LUCIFRASE & LUCIFERIN: Visual representations of the chemical reaction between Lucifrase & Luciferin that creates Bioluminescence. THE PROCESS OF BIOLUMINESCENCE 1. The lucifrase surrounding the luciferin. 2. Oxygen is present so lucifrase starts to move towards luciferin 3. Reaction taking place 4. Light is produced 5. Oxidised luciferin

DINOFLAGELLATE All the natural processes I looked at have helped inform what I discovered through my chosen natural process, Dinoflagellates, with each having a key influence in my design process so far

LIGHTNING: Lighting, an instant illumination of dark. A natural moment of light, showing the aggression of light. It was this aggression that I found most interesting from this concept. ATTRACTION AND REPULSION: Exploration in to how light such as the light of the sun can be seen as both attractive and repulsive, both warm and intrusive, both beautiful and ugly. FIREFLY MOVEMENT:: Through analysis of male firefly flashing patterns I tried to create lighting paths that looked at the movement of light through dark.

DINOFLAGELLATE

I WANT THE DESIGN TO ACHIEVE THREE KEY OBJECTIVES: 1: Reference the tessellating nature of the dinoflagellates integument.

DINOFLAGELLATE The dinoflagellate is a marine plankton. Covered in a polygonal tessellating armour. The Dinoflagellate lets off a bluish light (bioluminescence) when disturbed. (Australian Antarctic Division) Through further research I discovered that the dinoflagellate defence mechanism was not dissimilar to the biochemical process that creates its light (the reaction between luciferin and lucifrase). Dinoflagellates float through the sea, when disturbed (catalyst) the reaction takes place, a burst of light occurs (bioluminescence) for around 1 millisecond and then they lie dormant (oxidised luciferin). What initially drew me to the dinoflagellate was that it was a form in nature that generated light, it was a natural lantern. I also was intrigued by the dinoflagellates polygonal surface. It was a natural panelling system, and I thought it could be utilised and emphasised through the digital panelling that takes place in the later stages of construction. I also liked the uniformity of the shell but also the perceived individuality between dinoflagellates. . .

2. The form should react when coming in contact with the body. (Referencing the defence mechanism of the dinoflagellate, its aggravation)

3. The form should reference the temporality of the aggravation. Before, during, and after.

Left top: Coop Himme(l)blau psychogram sketch of the Law Office Rooftop in Vienna Left Bottom: The finished form of the Law Office Rooftop in Vienna

Below left,and below right are quick sketches informed by concepts introduced through readings by Coop Himmelblau who use psychograms to generate ideas for design discovery. My quick sketches were drawn without visual inspiration yet were informed by my design objectives, thus not psychograms but attempting to draw without â&#x20AC;&#x2DC;rationalâ&#x20AC;&#x2122; thought gave me parameters to work within, thus the more detailed images below are direct responses to the boundaries and massing of the quick sketches.

DINOFLAGELLATE MODEL 1

MODEL 2

DINOFLAGELLATE MODEL 1

DINOFLAGELLATE MODEL 2

DINOFLAGELLATE MODEL 3

Model 1 represents a change across time.

Model 2 is a further representation of the change across time.

The three distinct divisions represent:

Material: Plasticine

Model 3 is a further attempt to show this aggravation while also referencing the polygonal tessellation of the dinoflagellate.

Calm - Aggravation Fatigue Material: Paper on black foam core

These models were an attempt to visually create and understand through quick abstracted 3D analogue construction the design processes of my lantern.

MODEL 3

Materials: plasticine, white paper

IDEA GENERATION

FRACTURE The form of my lantern was becoming too fractured. After readings on Coop HImmelblau and their reactionary approach to architecture I was too caught up in the abstraction and disconnection of form. I wanted to create a unified structure.

THE STRUCTURE IS THE BODY The pantheon is one of the first great architectural examples of the structure of the building also being the form. It is this idea of the skeleton of the building also being the body that I am so interested in, and is what informed my final design.

FINAL FORM I wanted to form a membrane, a continuous structure that both represented the polygonal nature of the dinoflagellates integument but also able to be viewed as each polygon being its own element within the structure, referencing the individuality of the organisms but also their uniformity. I wanted to show the aggravation and disturbance through a change in elevation and dimension. The resulting form is a honeycomb structure that alternates in height, depth, and width between each polygonal enclosure. Gradually declining in both height and width as the form moves across the arm, eventually relaxing as the form leaves the parameters of the arm.

CRITICAL REFLECTION

Module One Digital technology has made a significant impact on the design world. Through generative digital design it is now possible to create extremely complex geometries. It would seem that the digital has taken over, diagrams are becoming buildings and buildings are simply a set of algorithms dictating form and function. However, this is a pessimistic view of digital design. It would seem that digital design has changed architecture, it has allowed for an understanding of structure and complexity of geometry that was only previously understood by the true greats of architecture such as Frei Otto and Jorn Utzon. It is a tool that has allowed what was previously very difficult to become relatively easy. However, this ability to create great complexity does not mean great architecture. There must still be the same rigor behind the process, there must still be a fundamental comprehension of material, form, light etc. by the architect and an understanding of the physical before moving to the digital. Digital media must not be allowed to mimic creativity, for that, and that alone is what the individual brings to design, something a computer program can never understand, the imagination of the human mind. The media used within module one was traditional techniques, using pen and paper, clay, physical diagrams and representations to understand and direct the design process. Allowing for an understanding of the physical before moving to the digital in module 2

MONTAGE: Montage showing an abstract representation of the narrative of my design process.

MODULE 2 DIGITIZE & ELABORATE

3D exploration

NonLin by Marc Fornes Digital explorations leading to fabricable forms

Materiality

Prototyping

Peter Zumthor’s thermal baths at Val. An understanding of materiality

Digital illumination

Exploration of form manipulation

Analogue to Digital

Contouring 2D exploration Design of parts Bring movement to form

WEEK SIX

Prototyping

WEEK FIVE

Final Design development

WEEK FOUR

P R E C E D E N T S

MODULE TWO

D PROCESS E S I G N

FINAL FORM OF LANTERN

Frank Gehry’s Guggenheim Bringing movement to form

ALL INFORMS MODULE 3

CONTOUR PROCESS Module 2 was an exciting exploration in to the unknown digital realm of Rhinoceros. Designing as I learnt the skills of the program. ABOVE: Plasticine

model with 5mm contour lines

ABOVE: Rhino digital contours following guide line. Po-

sition understood through 2D guide images

CONTOURING To digitize my model precisely, I chose to digitize physical contours of my plasticine model on Rhino. I segmented my model in to 5mm slithers then placed those individual contours on a grid and imported that grid to Rhino. Because my model curves back on itself I had to create a guide line in rhino which cut through the centre of the model which would then guide the contours. This technique worked well and created a accurate loft of my analogue design, allowing for my first

ABOVE: Final

contour lines

ABOVE: Final

Loft

interactions with panelling tools.

2D EXPLORATIONS

ABOVE: 5mm

segments of plasticine model

ABOVE: Rhino

guide line

My initial interactions with panelling tools were with 2D panelling tool presets (RIGHT).I realised quickly that the limitations of 2D panelling tools were going to restrict my design process. It was this realisation that led me to my 3D panelling tools exploration.

DIGITAL EXPLORATIONS 3D EXPLORATION The 3D exploration was fundamental in my designs process. I wanted my model to achieve a volume that could not be achieved in 2D panelling. To digitise my model in 3D I created two lofts, one which followed the outer form of the model, and the other which followed the interior form of the model. Thus, creating two independent panelling grids that would be able to create a singular form.

ABOVE: 3D

Box Preset

ABOVE: 3D

Pyramid Preset

ABOVE: 3D

Pyramid 2 Preset

ABOVE: 3D

Partition Preset alternative loft

ABOVE: 3D

Partition Preset

ABOVE: Orthographic

EVOLUTION OF THE LOFT

images of 3D partition Preset

PROTOTYPING

JOINERY

CONFIGURATION

Understanding how this model could be put together was something I was constantly thinking about. As my model is a warped polygonal comb the material that creates the form needs to be able to be joined at a point where several sheets meet. The pictures below are joining techniques I attempted with white card.

The initial reason for creating the prototype was to understand how the configuration of panels would work and what the size of the space in between the panels would look like. The test informed me that I could have more panels and that smaller spacing could actually be more visually striking than larger open panels.

PANEL SIZE

LIGHT + MATERIAL

One of the key problems when using a digital medium to create design outcomes is forgetting the limitations of the material in the physical world. I wanted to see if my model would be able to be panelled by hand, so I chose the smallest panels that occur in my digital design and tried to replicate them in the physical, using white card. The results were positive with the card able to create a 5 sided open shape, with each panel starting at 7mm in width and still being identifiable at a width of 1mm. The measurements were informed by the measurements of the tip of my final Rhino design.

This study tried to understand the different effects material has on light and vice versa. All material was either white paper/card or tracing paper. The results are varied in both colour, intensity and transparency. The study explores lights relationship with material, and how different light can transform a plane or surface.

MATERIAL: White card 250 GSM Light: Warm 28 Watt Colour: Bronze Transparency: Medium MATERIAL: Draftsman Trace Light: Warm 28 Watt Colour: straw Transparency: High MATERIAL: White Cartridge Paper Light: Warm 28 Watt Colour: purplish grey Transparency: Medium - High MATERIAL: White card GSM Light: Warm 28 Watt Colour: Whitish grey Transparency: Medium MATERIAL 2mm White Board Light: Warm 28 Watt Colour: Crimson Transparency: Low

FEEDBACK LOOP

All prototype construction helped inform the manipulation of my design. Giving me confidence in making the point grid more extreme and allowing me to push the parameters of my design, due to a greater understanding between digital design and analogue construction, creating a feedback look that helps inform one another; fundamental when dealing with digital design conception.

THEORY & PRECEDENTS PARAMETRIC DESIGN & MATERIALITY Parametric design offers the user the ability to design, test, design, test etc. in immediate succession, meaning you do not have to build a physical model to gauge if the design will hold or not, the program has the ability to do it for you. It is important for me to understand if my model is panellable or not without having to physically construct and then re work my model each time I find a fault, I can do that in the digital realm which is far more efficient and allows the creation of more design options due to the ease of manipulation making optimization far easier. The issue, I believe, is appreciating the materiality of construction and understanding that materiality within the physical before moving to the digital. This understanding takes great experience in architecture something I do not have, so it is of fundamental importance for us as students to appreciate, and respect materiality and its fundamental properties within analogue construction. It is something the digital world cannot give you, it is the fundamental comprehension of materials. In Peter Zumthor’s book Atmospheres: Architectural Environments and Surrounding Objects, he talks about his experience and feeling about spaces he is in. The follow quote explains materiality, its endless possibilities and its human nature: Material is endless, take a stone, you can saw it, grind it, drill in to it, split it, or polish it, it will become a different thing each time. Then take tiny amounts of the same stone or huge amounts, and it will turn in to something else again. Then hold it up to the light; different again. There are a thousand different possibilities in one material alone. p 25 publisher birkhouser, basel 2005 This quote shows how the relationship with materials is such a human connection and is something that computers cannot understand, they cannot think, they cannot be open to not knowing the possibilities of material and exploring that unknowingly, this to me is the power of the human within design. Both Analogue and digital design are tools for the broader understanding of ‘design’ and both techniques are useful in different ways and one should not be discouraged or disregarded, but both utilised and respected in conjunction with each other.

MOVEMENT+LIGHT

PUSHING THE PARAMETERS The Process in which Marc Fornes has designed nonLin shows a similar process to the way in which I AM designing and constructing MY lantern. Both using digital techniques and processes to create cohesive forms, however quite differently. The structure is an investigation into transformations from one state to the other, and an experiment into constructability. The nonLin is a response to single bidirectional surfaces (i.e NURBS surfaces) which is the medium in which we are representing and realising our lanterns. It is pushing the constraints of NURBS surfaces, as they cannot create 3 part relational models. This shows a project that works within the parameters of the computational program however challenges this creating non linear forms that are then developable as a set of linear elements which can be unrolled and cut out of flat sheets of material. This design shows that the limitations of digital design is only as limited as the designer and how they are able to interpret and express their design ideas through the parameters that are set through the program. In relation to our project: The project uses digital techniques to create a developable structure that can be created with flat sheets of material and become a challenging, inspiring, innovative form that like my development was possible with the aid of computational techniques, resulting in a digitally fabricable design. The form has individual expression through openings and internal space, while still being an interconnected, interrelated structure that shows a unification of parts. This is something I have wanted to achieve through my form and its fabrication techniques, and even though this shows a far more complex, intriguing process and final outcome, it is fundamentally based around similar processes, techniques and desired outcomes.

Frank Gehry is one of the worlds leading architects and with his Guggenheim Museum in Bilbao tried to ‘bring movement’ to architecture. At the 2009 Aspen Ideas Festival Gehry discussed where he got his inspiration for movement: ‘precedents for movement go back to Phidias in the Parthenon’ but initially ‘go back 300,000,000 years before man to fish’. And through his exploration he looked at how Coy Fish and Carp move in the water and from this he explored lamps, sculpture, etc and through this exploration of movement he ‘learned how to build with those kind of forms and capture that kind of feeling, that was the evolution’. It is both the shape of the forms that Gehry creates but also the material that he uses and the way in which light helps this sense of ‘movement’ with the shapes implied. This connection between material, light and movement is something I would like to look in to further as I explore the prototyping of my model more seriously in the next module, and is something I identified in my initial studies in the previous module in relation to materials relationship with light. No doubt Gehry’s process is more rigorous than my own however this acknowledgement of material being a major factor in how light is utilised and emphasised to achieved a desired outcome, for instance a sense of movement being implied. It is this sense of movement through a static form that both I am trying to achieve, but with a very different outcome to Gehry.

DIGITAL EXPLORATIONS

CUSTOM 3D EXPLORATION The 3D custom models that I created were not as effective in expressing the form that I wanted to achieve compared to the built-in 3D partition setting. The 3D forms were more ‘complex’ but far less effective visually, logistically and conceptually.

DIGITAL EXPLORATIONS

ABOVE:Initial

3D panelling

ABOVE: Further

3D panelling, greater density

EVOLUTION OF THE FINAL DESIGN The final design was a culmination of the digital process that had taken place. Being directed by the initial process of the dinoflagellate and informed further through an understanding of my project through precedent projects, and through the construction of prototypes. The final design is constructed of 3 parts. It evolved from the original panelling system through the manipulation of the exterior panelling grids grid points, and altering those to create more interesting, challenging, aggressive forms through a preconceived conceptualisation of the desired form. The final design has achieved what I set out to achieve, it shows 3 distinct sections referencing the temporality of the aggravation, referencing movement. It reacts to the interference (the human arm), it shows uniformity within the grid, while also referencing individuality through the unique shape, and geometry of each internal space referencing the dinoflagellates integument.

ABOVE: Further

3D panelling, aggravated form

ABOVE: Further

3D panelling, further aggravation, manipulation and connection to process

CALM AGGRAVATION FATIGUE The final design is of three parts representing calm, aggravation and fatigue. The first section (calm) is a 3D box pattern which is used to show uniformity. The second section (aggravation) is where the model comes in contact with the arm and is a manipulated partition pattern, showing reaction and aggravation. The final section (fatigue) is 3D box design which gradually dissipates from the aggravated central form to a unified end.

CRITICAL REFLECTION ANALOGUE vs DIGITAL DESIGN The fundamental design process that was to be understood within this module was the transition and interplay between analogue and digital design. From both design approaches I understood that within a good design when using both mediums there is a continual interplay between both mediums. The creation of ideas and the creation of design is a tactile process, and the initial creation of form out of analogue techniques was important because it realised the limitations of the physical world compared to the digital, something which is paramount to understand before digital techniques are attempted. The exploration of prototyping was fundamental in the realisation that what can be created in a digital modelling program such as Rhino may not be transferable into the physical realm, and through realisation of this a feedback loop is created where one informs the other. There are obvious advantages to the digital visualisation and exploration of design, one of the key being the sheer volume of ideas and configurations of a design over a short period of time. It is obvious why a time consuming, economic driven industry such as architecture would embrace such techniques as it is fast, cheap, easily communicable, and precise. The issue is the limitations that are undoubtedly set by the program; you can only explore what the program will allow. No matter what the argument the design will be dictated by the program to a certain extent. There of course is an equal argument that the limitations of analogue 2D design has actually restricted more organic curvilinear forms and is why we have generally seen rectilinear designs previous to digital discovery. Thus, proving that it is how an architect has control over his tools that depend on the quality of the architecture not the tool itself. There is a reason why computer aided design is seen by some as the biggest shifts in architectural practice in its history ; it is changing the way we think about design, interact with design and the way in which we â&#x20AC;&#x2DC;designâ&#x20AC;&#x2122;.

MODULE 3

FABRICATE

D PROCESS E S I G N Initial fabrication

Complications with final design

PROTOTYPE No. 1

P R E C E D E N T S

Digitisation to fabrication

Grand Ise Shrine. Japanese construction techniques Informed notching connection technique

Solution to issue

PROTOTYPE No. 2

Construction

Illumination of form

Digital Architecture Labratory used digital fabrication due to precision, informed my decision to use FABLAB

Prototype No.3

Modification

WEEK NINE

Issues with first design

WEEK EIGHT

Material and Light

WEEK SEVEN

MODULE THREE

FINAL MODEL

Shigeru Banâ&#x20AC;&#x2122;s Paper Dome.

ALL INFORMS MODULE 4

Use of translucent paper to illuminate form

MAKING A CONNECTION

MODULE 3 began with issues of fabrication and construction, it was a continual feedback loop between the analogue and the digital. It truly highlighted the interconnected relationship between the digital and the manual when optimizing ones design.

KEEPING IT TOGETHER Traditional Japanese architecture and construction techniques was my initial inspiration for the construction of my model without the aid of glue or other fixing agents, but relying on junction detail, using the structural material to connect and interlock. This inspiration came from first hand observation while in japan for an extended period last year, and being drawn towards such Japanese construction traditions, and then realising how universal these techniques have become. This technique is optimised by such structures as the Ise Grand Shrine in Ise, Japan. The Ise shrine is rebuilt every 20 years to preserve the constructional techniques, bringing the traditional to the modern and continue the cultural rejuvenation and continuation within Japanese society of these ancient construction techniques. This interlocking structure that uses no fixings, and is connected by interlocking pieces, shows junction detail at its most simplistic and in its most honest and refined form. This appreciation and understanding led me to my discovery of notching and being able to construct my model through intersecting pieces at junctions. Modern day notching techniques have been seen in the Metropol Parasol, an urban space, that is constructed using a huge grid that interlocks and creates a form that is also its structure, this is the same as my own lantern. The structural elements are what dictate the form, with no shell or sheeting; it is the skeleton of the construction, while also being the body of the form.

ABOVE: Cylindrical polysurface ABOVE:Grand Ise Shrine BELOW: Technical drawings of Ise Shrine

ABOVE: Notch on Rhino polysurface

CONNECTION To create the notches I found an intersect point, using intersect command. I then used diameter curve, switch to around curve, (make sure mid snap and end snap are on), type in desired diameter of 0.5mm. Create cylindrical Polysurface. Then split desired polysurfaces. Notch created.

PROTOTYPING

PROTOTYPE ONE: My first prototype was a partial segment (as shown by far right image) of my first lantern design. It was completely fabricated by hand. This was a long process and as my model needed precision to be fabricable it meant a very difficult tedious construction process. Overall the first prototype was a success and it taught me that it would be worth the effort to create FabLab files to cut out the laborious job of cutting out the pieces. COMPLICATIONS

SOLUTION

My first design had a fundamental problem with its construction. There were panels that were so warped that they could not be turned into triangulated polysurfaces.

My solution was to completely recreate my design. To make sure this problem did not occur again I created a complete polysurface for each manipulation point. This lead to a long but necessary process that led to many different variations all building up to my final design.

Also as the three parts of my model were not created together they did not fit together precisely.

MATERIAL: 1mm white pasteboard SCALE: 1:1 FABRICATION: Hand Cut

Part of initial model that could not become a polysurface due to overlapping and warping.

PROTOTYPING

PROTOTYPE TWO: Prototype two was a full scale 1:1 version of my lantern. Unlike the previous prototype it was

fabricated using the FabLab and the laser cutter. This considerably cut down construction time, with the whole prototype taking as long as the partial prototype previously constructed by hand. ISSUES: The FabLab was not without issues, as the laser cutter left burn marks and smudges across all pieces.

LIGHTING: The lighting of the lantern emphasised the individuality of each enclosure, however due to the lack of translucency of the material used, the illumination of the form was not achieved, leading to further prototyping.

ABOVE: FabLab File for prototype 2. Colour co-ordinated to allow for both valley and mountain folds. Red meant ‘score’ and Gold meant ‘other side score’ MATERIAL: 1mm white pasteboard SCALE: 1:1 FABRICATION: Laser cut

FINAL ORTHOGRAPHIC IMAGES

PROTOTYPING PROTOTYPE THREE This model was a direct response to prototype 2. It tried to address all of the issues of my first major prototype. IT used Ivory card of 270GSM. Lighter weight material than the paste board. To offer greater translucency and cost effectiveness. I used the card cutter to create the 2D pieces to combat the burn marks from the laser cutter. Due to the acute corners within this mode however, the card cutter often warped and tore the ivory card. The design incorporated openings within the body of the design to allow light to be released from the model more easily, something lacking from the original prototype. The design as an illumination was a success. The openings intensified this illumination however the light source was too direct and needed to be softened.

MATERIAL: Ivory Card SCALE: 1:1 FABRICATION: Card Cutter

MODIFICATION: Due to time constraints I wanted to find a quick way to alter my model and create more openings for illumination of form. I opted to draw on to my 2D FabLab nests. This prototype allowed me to see the effect of the openings without having to manipulate my Rhino file, and allowed me to understand how I would alter my final model.

MATERIALITY (Left) this church in Taiwan is by Shigeru Ban named the Paper Dome. Shigeru is a Japanese architect who readily uses paper within his architecture due to its sustainable, durable, inexpensive and recyclable nature. This visual experience of translucency, ethereal in nature are qualities I recognise with Japanese architecture and design simply through association, from their festive lanterns, to shoji screens to modern day constructions such as this. All of these aspects informed my decision to use white translucent tracing paper within my model to guard the eye from the intensity of the LED, while still allowing for illumination of the form; an issue I had realised from prototype 3. ABOVE:Shigeru Banâ&#x20AC;&#x2122;s Paper Dome in Taiwan

Below: My lantern illuminated, with openings covered by translucent paper.

THEORY AND PRECEDENTS

RHINO CONNECTIONS

DIGITAL REASONING

The work of CITY SCOPE by Marco Hemmerling is a project that has many connections to my own.

The Digital Architecture Laboratory or DAL is a design workshop for students to learn from architectural and other design professionals. This project which was led by Suryansh Chandra and Shoujiong Zhang, was exploring dynamically changing densities.

It is a project that used Rhinoceros to create its form. The form has direct relationships with the types of forms that we create in panelling tools. Its shape and form is a direct response to its surroundings. Its angular shape and lighting is there to reinforce the idea of fragmentation. Fragmentation is something I have been trying to achieve since the beginning of my design and it is obvious that rhinoceros is a good program for these sorts of shapes to be realised. The lighting within is meant for dynamic illumination at night, as is my project, and the light sequences were realised through digital processes, something I have also attempted to achieve with the use of lighting techniques within Rhino. However the projects differ, as CITY SCOPE was perceived entirely within the program of Rhino. My initial idea and conception was created in the analogue and then digitized to be able to create an unfoldable 2D surface. CITY SCOPE project has been dictated/dependant on the design program for its idea generation since its conception. I believe its form shows this. I learnt about my project through feedback loops with the use of prototypes, I discovered lighting through construction and testing, dictating both material choices and also form. CITY SCOPE has used digital technology from the finish to the end, and done its prototyping etc. within the digital realm. This type of form is no longer unique, Rhinoceros, and similar programs have made these types of forms almost... the norm.

The project shows many direct connections to my own. It is a project that’s process is similar to the subject of virtual environments. The project uses digital modelling programs to conceive, manipulate and refine the work. It uses the digital modelling to create polygonal panels using orthogonal grids to create a 3D structure out of 2D sections. The overall project looked at the ‘lines of intersection between skeletons and solids’ (eVolo 2011) this is a brief that fits my construction well. As my design is a ribbed structure, the skeleton of the form, while also being its body, or solid. The forms differ greatly but the process and design brief are both recognizable to each other. The project informed my decision to use laser cut technology to create my design. This project used laser cut technology due to its precision and the speed at which it can be created. I had struggled using manual tools to create my design and seeing a similar process fabricate their product using this technology helped solidify my decision that making the effort to fabricate my design through digital means would be a fitting end to the digital

FINAL MODEL

FINAL MODEL MATERIAL: 1mm white pasteboard White Tracing Paper SCALE: 1:1

The final model was the culmination of my design process, informed by all the studies within module 1, module 2 and all the prototyping and digital fabrication of module 3.

FABRICATION: Laser cutter

1: Reference the tessellating nature of the dinoflagellates integument. 2. The form should react when coming in contact with the body. (Referencing the defence mechanism of the dinoflagellate, its aggravation) 3. The form should reference the temporality of the aggravation. Before, during, and after.

LIGHTING: 25 x throwies

If looking back at the three key design objectives I set out to achieve at the beginning of my design process:

I can say that I have achieved my initial design goals and created a successful lantern which has exceeded my expectations.

FINAL FABRICATION LAYOUT

DIGITAL FABRICATION

These are the final 2D fabrication files that create my design. With the same format as previous fabrication files with red representing ‘score’, gold representing ‘otherside score’ and black representing cut. The FabLab was then able to fabricate my model on 1mm white pasteboard, creating 5 2D sheets which I would then manually put together.

Above: Final model with outline colour guide to highlight 4 different parts of model Cyan: Part One. Royal Blue: Part Two Violet: Part Three Red: Part Four

FINAL FABRICATION PROCESS

FABRICATE

Page shows montage of construction process, from cleaning of pieces, application of tracing paper, the creation of all 4 parts through to the final illuminated lantern.

FINAL MODEL PHOTOS

CRITICAL REFLECTION DIGITALLY ENABLED FABRICATION Throughout module 3, the ability to modify my design rapidly within the optimization stage, coming to a final design, and versions thereof over a short period of time is a testament to the power of digital designs efficiency, and further NURBS modelling tools. Once having a greater grasp of Rhino I was able to recreate numerous iterations of my design in what originally took me 2 modules to create in only one day. This ability to modify and evaluate my design within the digital realm quickly and effectively showed the usefulness of these tools within architectural practice. This type of design development allows for quick-fire responses to problems and the ability to create a range of responses to a specific problem. For example my first prototype was created by hand. It took a full day to create 1/5 of my model, compare this to my second prototype that was digitally cut by laser, and the entire construction of that took 1 and a half days. I then realised I wanted to test materials and openings, I sent off another file to FabLab and within a day I had received and created another prototype, which informed materiality and openings. This ability to create a feedback loop so easily and effectively using digital tools is a great example of the use of digital fabrication. It is also important however, especially for someone like me who has neither a firm grasp on computational skills or an in depth understanding of materiality that I do use all the tools at my disposal to create a successful design. I cannot simply rely on the digital to inform my design. Head lecturer Stanislav made a very telling point that if one relies on a program and does not explore outside of it, and work within a network of mediums the result is most likely to have been achieved previously, and also able to be achieved by anyone who has an understanding of the program used. Architecture still must be about the process, utilising research, design exploration and discovery and then using these tools to physically construct and develop them. These tools are still tools, they must not dictate design decisions but help inform and solidify them. I believe Rhino and other programs like it have had a huge influence on the architecture of the past 10 to 20 years. I believe these programs have dictated a vast use of design, especially architectural design over this time. It is no coincidence that facetted polygonal forms have occurred far more readily over this period of time. This makes me think that the ability to be able to fabricate such forms using these programs, has directly affected architecture and is a movement in architectural form in its own right. These forms are no longer unusual but the norm, and their ease in creation and fabrication is obvious reasons for its continual occurrence. Marshall McLuhan, a Canadian philosopher, wrote a book called ‘The Medium is the Massage’ where he discussed the invention of new forms of Media, in particular Television. He described how the ‘event’ of TV was more important than the content; this can be easily related to digital design. Digital design must never become about the ‘event’ or the spectacle, it must still rely on the content of the design and the rigor behind that. The most famous architectural definition may date back Vitruvius who described architecture as ‘Commodity, Firmness, and Delight’, the challenge is to make sure this is still achieved within modern day architecture, while the lure of computer ‘directed’ design is kept at bay by innovation and rigorous discourse within the profession.

FINAL CRITICAL REFLECTION This course has introduced us to sketching, sculpture, photography, model making, prototyping, digital design exploration, digital fabrication, and optimization. In essence it has given us a brief overview of techniques which are used by architects today to create contemporary, innovative design. Reflecting on my own interactions with the digital mediums we came in contact with I can see many positives. Firstly efficiency of time, in both construction through pre fabricatable options and also being very efficient in the optimisation of my design, allowing me to refine and improve my design continually throughout my digital explorations. The other key positive within fabrication phase was precision and accuracy. The ability to create notches with the laser cutter that were 1mm thick and making those cuts exact is a real positive for digital fabrication compared to manual construction. The digital techniques we have learnt have real impacts on contemporary professional design processes. The ability for pre fabrication within construction means construction becomes time efficient but also even more important, waste is minimised in construction a huge issue previously in the sustainablity debate. Also the techniques we have learnt have meant we can create 3D forms that are then able to be turned into 2D planes and cut out, meaning conception can be in 3D and then communicable to a builder who can analyse both the 3D form as well as the 2D orthographic drawings or 2D pieces. Reflecting on my own experience within the subject I have found that my acceptance of digital design within architecture is far more optimistic than the pessimistic view I had of digital design before being introduced to the course. I initially was sceptical of digital design believing it to be something that dictated form instead of informing it. The first reading that looked at the brilliance of Frei Otto, and his ability to create such complex structural geometries far before the digital age epitomised my unease with computer generated design. I saw the digital age as cheapening this brilliance, allowing any tech savvy chump the ability to create forms as complex as Ottoâ&#x20AC;&#x2122;s with the click of a button. However, throughout the course and throughout further reading I realised that digital design did not disregard the past, but was informed by it and was a tool which allows for efficient design optimization and fabrication. It is a process of formation. It allows easy pre fabrication, the ability to create precise structural components, and efficient design optimization. This subject has allowed me to get a taste for the role of digital design within architecture and all forms of design. It has made me realise (importantly) that the best design finds a relationship between tools and works with those tools in an interrelated fashion to create interesting, intriguing, inventive design. You cannot simply stay put and know what you know, you have to keep exploring and learning, and digital design is a constant learning process, with new programs and new tools being constantly released and updated to help assist with design. This subject has started me on my journey of finding my design narrative, allowing me to make up my own decisions and making me realise that digital design is a valuable tool in the process of design discovery, however it will never be able to compute what makes a great design; Creative brilliance.

virtual

environments

virtual

environments

c o n t e n t

engender digitisation fabrication reflection

julia ward | 540131 | semester two | group eleven

virtual

environments

virtual

environments

c o n t e n t

engender digitisation fabrication reflection

julia ward | 540131 | semester two | group eleven

e n g e n d e r

initial concept: working bee behavior

Fig. 1

routine

Experiments have shown that bumble bees are able to use a combination of colour and spatial relationships in learning which flowers to forage from. Bees start out in search of a suitable site i.e. flower patch from which they can forrage from. Once they have found a suitable area they will repetitively return to this site until the bee has collected all the nectar and pollen availabe. Having collected the nectar and pollen, bees return to the nest and deposit the harvested necar and pollen into wax cells in the hive. Bumblebees have an incredible homing instinct that allows them to find their way home from up to eight miles away. WW ScienceDaily (July 28, 2006)

collaborative activity

navigation

Celebrating the original design impulse, instance or event; Coop Himmel Blau’s architectural work is typically characterised by the unravelling of the design process; a method that allows their finished buildings to express the creative gestures which have shaped them. The concept of “open architecture” is also relevant here regarding “self sufficient structures that form differentiated spaces, spaces that do not pin down the future user” but promote the idea that the exact use of any space is indeterminate at any given moment in time.

central base

the hive

pollination and collection networks

Sydney Opera House; Jorn Utzon

La Sagrada Familia; Antonio Gaudi

This has inspired my design development through the notion of unravelling and representing the process of working bees, and maintaining this initial concept throughout my designs and further into fabrication.

Pavilion 21 – Mini Opera Space; Coop Himmel-Blau

Precedent projects: points extruding from a common base: regular geometric forms versus organic shapes: Mini Opera Space versus the Sydney Opera House -> This idea has inspired my representation of bees scattering out from the hive in different directions on their individual paths see (fig. 1: Mapping Bee Movement sketches). The La Segrada Familia model has encouraged me to have a key theme of a cohesive, networked design. With the use of gravity to determine perfect geometrical points and lines with hanging sand bags, this model exhibits a unique and interesting approach to form generation, in flipping the design idea upside down.

e n g e n d e r

initial concept: working bee behavior

Fig. 1

routine

collaborative activity

navigation

central base

the hive

pollination and collection networks

Sydney Opera House; Jorn Utzon

La Sagrada Familia; Antonio Gaudi

Pavilion 21 – Mini Opera Space; Coop Himmel-Blau

light and shadow

movement

fluidity

Design: Iconic Structure across Dubai Creek; Coop Himmel Blau

The concept of motion is evident in the given projects in different ways. The first structure exhibits a very fluid, abstract form, intiating a connection to the body of water beneath it. The context of the project, in my case - the body, is one of the most important things to consider in fulfilling a design outcome. I think the curved, overlapping form of the bridge segmented into strips has as much importance to the design as the reflection it creates benath it on the water. The second project uses panelling effectively to create the allusion of movement. Furthermore, I find this structure particularly interesting as the the aesthetic of the building would change depending on the direction of the sunlight, casting shadows and creating different shapes on the building facade. From these two precedent projects I plan to incorporate light and shadow as majore elements of my design as well as my interpretation of representing fluidity and movement. This is relevant to the bee analogy as they are always moving, revolving around a cyclical process.

sketch moels - experimenting with different ways of representing bee activity flying out to the forraging site and returning to the hive.

Town Town Office Tower, Erdeberg â&#x20AC;&#x201C; Vienna Austria; Coop Himmel Blau

-> extension of the curved sketch model into a strip to be placed on the body -> integration of unexpected and organic lines and and surfaces concentration of line at various nodes along the model -> transformation of the â&#x20AC;&#x2DC;beelineâ&#x20AC;&#x2122; into a 3D surface ->overlapping curves creating an interesting view from different angles ->one cohesive piece representivie of the collaborative work of bees in a bee hive network

d i g i t i s e

light and shadow

movement

fluidity

Design: Iconic Structure across Dubai Creek; Coop Himmel Blau

sketch moels - experimenting with different ways of representing bee activity flying out to the forraging site and returning to the hive.

Town Town Office Tower, Erdeberg â&#x20AC;&#x201C; Vienna Austria; Coop Himmel Blau

d i g i t i s e

refinement Having imported orthographic images of my clay model, I experimented with a few different ways of digitising my model to see which would be most suitable. As the front and back parts of the ‘sash’ are so contrasting, I decided it would be simpler and easier to model them separately. For the front, more complex ‘bee path’ part of the sash model, I found the method of creating contours from profile curves most appropriate. This was effective as I needed to create a ridge extruding out from the body.

I incorporated the notion of a sash extending across the chest, making a full circle around the body, reflecting the cyclical nature of bees travelling out to forrage and then returning to the hive. Organic lines and concentrated points along the main curved ridge of the model reflect the process of bees pollinating flowers, with the nodes symbolising the the concentrated movement of a bee hovering over a flower before continuing on to the next.

The process of my idea development was interesting, unexpexted and rewarding. One concept which partictularly struck me throughout this module was the Coop Himmel-Blau philosophy of design; celebrating the original design impulse, instance or event. Encouraging the subconcious to create, via means of initiatives such as the ‘psychogram,’ allows for spontaneous and unexpected design outcomes. This idea was completely new to me and I found it really useful to keep in mind as I randomly experimented with different clay and wire mesh forms, often not looking at what I was producing and focusing on something else. This has influenced the way I understand design as I’ve realised tlhat rationalising every single move and planning every step can actually be a hinderence in design. The concept of mapping movement was really inspiring as I saw how Nox unravelled the process of a gymnast moving through space. Documenting the process in a ribbed series which gradually evolved into different forms as each piece varied slightly, gave me an insight into how I could perhaps interpret the behaviour of working bees polinating flowers. CAD software also provides so many new ways to achieve technically difficult forms, allowing me to experiment with paneling tools and quick 3Dsketch tests providing me with the opportunity to develop and redevelop complex designs which I otherwise might not be able to. Both interpretive models, diagrams (drawing, painting and using Rhino), and ways of approaching design led me to the final visualisation of my bee network concept.

Having digitised my physical model very simply, I needed to both enhance and simplify different aspects of my model regarding the next step of fabrication. The concentrated nodes relevant to my concept are represented by the denser curves. However, I thought this would be too complex to fabricate securely and effectively so I decided to express this idea in a different way. I explored this notion by creating a new modified digitiesd model, with the nodes evidente by a narrower path (both in height and width) in the wider curve wave. On the other hand, from the ‘front’ and ‘right’ view ports I found that the height of the digitised model was too uniform and boring. I wanted a more dynamic model in this respect and so I created a series of curves, editing each separately using control points. I emphasised the node points by making the curves significantly shorter than the rest. I then lofted the curves to generate a modified version of the original digitisation.

original

The back part of the sash is very simple to digitise. In my clay model, I created many ‘pacman’ shaped parts which i then threaded onto a wire as seen in the images previously. There were some variations in the shapes however, and in digitising this part of my model I was able to ensure they were all identical. Thus, I discarded the method of tracing the curves from the importated image. Instead I created a series of identical arcs and spaced them five centimeters apart on top of each other. Using Rhino the precision of my curves compared to the clay model I had created will ensure a far more accurate and tidy fabricated model.

modified

I experimented with lofting the curves however I soon discovered the the simplest way to create the flat panels of the ribs which make up the back would be to use the ‘extrude edges’ tool. I applied The red circles highlight the nodes represented in a simpler modification. this to all the curves and I am satisfied with the result.

original

modified

paneling techniques

3D paneling allows for grater complexity and interest than 2D paneling. In some cases however, I found that the models I was creating were too complex and actually detracted away from my design concept. Fig. 1. exhibited on this page draws away from the central idea of the nature of a bees flight path. I hoped to express this as clearly as possible by using the ridged structure to highlight the â&#x20AC;&#x2DC;bee lineâ&#x20AC;&#x2122;. In this model I feel that there are too many panels at different angles and the model has become overwhelming to me and too intricate.

I experimented with a range of custom 2D paneling in order to visualise different outcomes for the basic ridged surface I had created. From this I was able to evaluate what I was drawn to aesthetically in paneling, and also what would be most appropriate and fitting to my design concept of working bees.

I explored the outcomes of point attractors and curve attractors which I found really interesting. I realised that I could really utilise this tool, integrating it into the conceptual aspect of my design by using point attractors at the nodes to emphasises the idea of concentrated movement within the bee flight path. Examples are shown in the images on the right. I carried through with this idea through to my final digitised model.

Exploring 2D paneling, both using custom shapes and custom variable shapes, I was able to experiment with and develop a range of paneling ideas, incorporating point attractors at the two nodes in my design.

fig. 1

I also experimented with some other more abstract 3D

custom variable paneling to further explore different forms, whilst always incorporating the point attractors which key to my design concept. I find the models to the right really intersting and I love the aesthetics of the unique paneling shapes, however for the fabrication of my model, I think it is better to stick to a more regular geometric paneling pattern. As I explored different methods of paneling using the the 3D custom variable option, I came up with this design which extrudes the edges of the basic structure. The panels weave and curve through each other creating what I think is a really interesting and beautiful framework. The surface ribbing is complex whilst not being overwhelming. Furthermore, as seen in perspective views, the lines create a really interesting fluid, wave effect which I think adds an element of coherence to the design.

paneling techniques

fig. 1

I also experimented with some other more abstract 3D

Filippo Innocenti: Adobe Museum of Digital Media

prototype

I like the closeness of the strips at the ‘nodes’ of my model and plan for the framework in these parts to support most of the LED lighting system. Further experimentation Using the Adobe Museum as inspirtation, I experimented further with paneling and created two versions of a model using surface pattern 3D paneling to incorporate the fluid, ‘spikey’ effect of the museum. Although very similar, what I find interesting is the different shading visibile on each, especially at the nodes. The point attractors create this effect as well as the angles at which the ribs are aligned.

Top view

I was inspired by the notion of fluidity and motion from my prototype and I have now developed what I believe to be a fluid form, expecially as seen in the top view image. I also like the arms which extrude from the base wave as it adds dynamism and 3D complexity to the model.

Final Model: 1 Further digital refinement

I constructed the prototype out of strips of paper curved and weaved amongst each other to imitate a section of the basic curvilinear form of my final digitised model. The prototype is inspired by the digitised model using 3D custom surface pattern panels. I am drown to the aspect of fluidity and motion in this model as it is not only aesthetically interesting but also alligns with my concept which exhibiting the cyclical and organic nature of working bee behaviour. It is important to note however that in the fabrication processs of my model I will be using a series of flat panels to generate my final model as opposed to long strips, I am confident that the same effect of motion will be achieved through arranging a series of panels.

The Adobe Museum of Digital Media is a virtual museum made of three arms, all variably paneled. As I have been experimenting with 2D and 3D variable paneling, it is interesting to note how Innocenti has applied this technique to a structure in relation to light. This design is directly relevant to the body lantern project and I find the separate arms really interesting in the way they are postitioned and curved between eachother to create a cohesive structure. I am inspired to incorporate extruding parts of my digitised model as I think it will create quite a dynamic and interesting form. I will be sure to use variable paneling to create different effects with the LED lights inside the framework of my lantern. Furthermore, I believe the notion of fluidity and movement is present in this structure, a feature which I also hope to create in my final digitised model.

As some of the surfaces of my model from Module Two were not planar, I needed to triangulate the surfaces in order for my model to be unrolled.

Fig, 1

I followed a process of creating meshes (for division of the surfaces into triangles and quadrangles) and then used the command ‘mesh to nurb’ to recreate planar surfaces.

Through this process of creating flat surfaces, I unfortunately lost some of the curvy, flowing form as my model had become more angular. Furthermore, I noticed that some of the trianglated panels were very small narrow (see fig. 1). I could see that this would prove to be problematic and very fiddly in the fabrication process. To resolve this problem I used the command ‘extrude curve to point’ to create new surfaces of less triangles (see fig. 2). However, this caused my model to further lose the rounded, flowing shape as I needed to create flat panels with divisions of just two triangles.

Fig, 2

Process of creating planar and simplified planar surfaces as described previously.

Filippo Innocenti: Adobe Museum of Digital Media

prototype

Top view

Final Model: 1 Further digital refinement

As some of the surfaces of my model from Module Two were not planar, I needed to triangulate the surfaces in order for my model to be unrolled.

Fig, 1

I followed a process of creating meshes (for division of the surfaces into triangles and quadrangles) and then used the command ‘mesh to nurb’ to recreate planar surfaces.

Fig, 2

Process of creating planar and simplified planar surfaces as described previously.

f a b r i c a t e

Fig, 4

Furthermore, I noticed that I would also need to invent a method to join the separate pieces (see fig. 3). I pondered whether to do this digitally on Rhino or to use wire or string to attach them to the main central model. After some research and investigation I decided that if I was to join the pieces manually, this could easily distort my model further. It would be very difficult to find the exact balance along all the strips for them to be positioned correctly. I also noticed that when I unrolled the strips, almost all of them unrolled with parts overlapping one another (fig. 4). It was going to be very difficulte to split up each strip into parts and even â&#x20AC;&#x2DC;explodeâ&#x20AC;&#x2122; some sections. It was then that I decided to remodel my design...

Final Model: 2

Fig, 5

I repeated the process of creating planar surfaces for my new model (fig. 5).

f a b r i c a t e

Fig, 4

Final Model: 2

Fig, 5

I repeated the process of creating planar surfaces for my new model (fig. 5).

lighting

I constructed a prototype out of paper to gain an idea of what to expect regarding assembly and especially joints for the final fabrication of my model. I cut notches into the strips and then used sticky tape to securely join the notched pieces together. Although I think sticky tape looks messy, it was the quickest method for joining the pieces for my prototype. I plan to use glue in my final model.

I chose to leave the leave off the end strips of my structure as I didn’t want it to be completely rigid. I based this decision with regards to the concept of my design as I aim to illustrate movement and the continuous nature of working bees.

The prototype failed as all the faces are supposed to be planar but due to the flimsy paper they were all bent and curved. This should not be a problem when I use a 1mm pasteboard for my final model.

Considering prototyping as a media for fabritcation and construction, it allows the designer to experiment with materials, techniques and assembly order. Consequently, alterations in the technical design can be made for a smooth and effective construction process. Digital fabrication media regarding card cutters (used for my model) and laser cutters allow for precision and efficiency in construction, elminating human labour and inaccuracies. However, material choice is critical as the wrong material can fail the design both structurally and aesthetically - as seen in my prototype above. Fig, 6

The Information Age of digital architectures, just like the Industrial Age before, is challenging not only how we design buildings, but also how we manufacture and construct them (week 5). Thus, it is important to understand the way in which different media impact the design process as a whole. For example, creative design development is currently heavily influenced through new efficiency in CAD and parametric modelling software, stimulating a range of complex designs which can be easily altered with computer memory, which were previously expensive, time consuming and economically and physically inefficient to create. Similarly, the relationship between digital design and digital fabrication has changed the way we experience space with surprising forms and behaviour. Ghery’s Guggenheim Museum is a prime example of this, renown for capturing the digital information revolution through irregular, unpredictable, three-dimensional shapes unseen at this scale before.

Fig, 5

It was also very important to assign a colour to the ‘back side’ of each surface so that I knew which side of each surface was unrolled to be facing upwards (see Fig. 5). This step was critical in the fabbrication of the final model, as it could change the structural form completely if the pieces were upside down or back to front. Fig. 6 shows the pages I sent to the fablab to be mechanically cut by the card cutter for fabrication. I labelled the longer pieces which lie horizontally on my model alphabetically and the smaller virtical pieces numerically. next to my digitised model I labelled the from which end I began to unroll each piece.

joining methods

prototype

I wanted the lighting of my lantern to be as discreet as possible so as not to detract from the lines and form of my structure. As my model is very open and everything on the inside is completely visible, I chose not to use a wired circuit with a battery pack as the wires could look messy and distract the observer from the clean, curved lines of my model. Thus, I chose to use disk batteries which I have attached to the underisde of some of the panels with masking tape. In line with my concept of the flight paths of working bees, I decided to dot the lights randomly around my structure representative of individual foraging sites for the bees. I like the way that the lights are all part of the network that is my latern, they are all connected and collaboratively light up my model in a really beautiful way.

The prototype was a success in the way that it allowed me to experiment with the order of construction of my model, attaching the vertical strips to the top horizontal strip first and then working downwards progressively adding the longer strips.

I began creating notches on rhino, dividing and offsetting some of the score lines to make a 1mm gap. However, I learned that the 1mm notches are too small for the card cutter to accurately cut and so I decided to make the notches manually. I slit two sample pieces of the 1mm card half way and joined them together. This was quite effective and so I decided to use this technique for my model.

Furthermore, I am aware that the construction of my model is not exactly precise and everything is visible to the observer. However, it was more important to me to produce this complex and detailed form to exhibit the conceptual element of my lantern, in terms of the business and complex network of working bees. The slight mistakes in my project add an interesting and organic effect, and I like that it is not perfect.

lighting

The prototype failed as all the faces are supposed to be planar but due to the flimsy paper they were all bent and curved. This should not be a problem when I use a 1mm pasteboard for my final model.

Fig, 5

joining methods

prototype

construction ‘Catch and Release’ , Minus Architecture Studio 2007, Southern Illinois This structure is digiitally fabricated with angles specific to location and time of day which are used to capture the sun. Solar capture louvers transmit energy to LED impregnated louvers which distribute the energy as light 12 hours later, resulting in a pulsing set of surfaces that catalogue the day’s solar gain.

I decided to look at some precedent projcets and structures to inspire the redigitisation of my lantern in order to generate a form I will be able to fabricate. The ideas I have taken and applied from this precedent is the open, intersecting ribbed form which although created from flat panels, conveys a curved and fluid form. Furthermore, the concept of light capture is interesting and has influenced the digitally precisioned angles in the fabricated structure. In contrast, my lantern will emit as opposed to capture light. It will be open and very luminous.

The Flux Exhibition at the California College of Arts focused showcased the emerging field of advanced digital design. The FLUX installation also explored the possibilities of parametric modeling using Grasshopper, Rhino and digital fabrication. Through the use of parametric modeling and a series of custom designed scripts, the installation design can be quickly updated to address new design criteria. From the thickness of the ribs to the overall twisting geometry and perforated skins, the spatial form of the armature is controlled through a complex set of relationships defined by its formal, performative, and fabrication constraints.

FLUX Exhibition, California College of Arts (2009)

Influence and interpretation of an open, intersecting ribbed structure on my own design and fabrication. This precedent is directly relevant to my own lantern design through the ribbed ‘snaking’ form, luminous lighting and also as a really inspiring example of the opportunities of parametric modelling and digital fabrication. I plan to utilise the lighting effect exhibited in this project and scatter the LED lights at different points along the ribs. This will offer concentrated points of glowing light creating an interesting contrast to other more shadowed patches of my lantern.

FLUX Exhibition, California College of Arts (2009)

lighting effects

I experimented further with the lighting effects of my model, concentrating a series of lights at the nodes of my design (see Fig. 7). To further emphasise my initial design concept of bees continually returning to forraging sites, I thought I could utilise the lighting aspect to reflect this notion. Additionally, instead of randomly scattered lights, I belive it is more interesting to have a stronger contrast of light and shadow at different points of my model.

Throughout the design development process, digitisation and fabrication of my lantern, I was continually experimenting, evaluating and making decisions based on research and my own experiences. I agree with Ashton, 2007 stated that “The design process is the construction, exploration and expansion of a conceptualspace.” From this I have learned and implemented in my body lantern the notion of continual exploration and new or different ways of representing my design concept. A key point when this was particularly important was the problems I encountered with my first complete digitised model which was not going to translate well into the fabrication process. Thus, I needed to expand and experiment my design to solve this issue. Herbert Simon describs the less than perfect ability to understand a problem completely and work it through to some ultimate solution as ‘bounded rationality.’ He stated, “when we fail to recognise the indeterminate nature of design pursuits and the bounded rationality of human thinking, we not only understate the design challenge, we also misconstrue its true complexity (Herbert 1996). I believe this idea is essential to incorporate into the design process, in line with Coop Himmel Blau’s anti- rational “open architecture” celebrating the original design impulse, instance or event.

node At the lantern parade

lighting effects

node At the lantern parade

Critical reflection.

Techniques introduced in the Virtual Environments course is impacting on contemporary professional design processes as the future of architecture is rapidly changing with CAD and CAM software becoming more complex and available to the masses. Additionally, it is the relationship between digital design and digital fabrication that allows for the dynamically behaving and unpredictable forms to physically change the way we experience space. The benefits of design technology such as parametric modelling are obvious; noteably, the efficiency of design and design adaptions. However, it must be recognised, and I have experienced first hand that although the opportunities with digital design are endless, translation into physical form is not always feasible. In the last two decades of architectural practice, new digital technologies have evolved from being simply representational tools used in the portrayal of existing models of architectural space, to becoming significant performative machines that have transformed the ways in which we both conceive and configure space and material. These tools for design, simulation, and fabrication, have enabled the emergence of new digital diagrams and parametric forms—often emulating genetic and iterative dynamic evolutionary processes. This technology not only has significantly influence my opportunity to integrate programs such as Rhino for my bodyspace lantern, but they are also radically changing commercial and industrial methodological strategies that we use for design, fabrication and construction. The scope for new complex digital and fabricated forms offers a radical change in the field of architecture in the future. Moreover, the concept of “ornamentalism” (Kolarevic & Klinger) is also an outstanding influencial notion moving through contemporary architecture. “The age of linear processes is collapsing around us giving way to ornamentalism” as series of panels, decorative reliefs, cut –out patterns, striated surface configurations evoking at the emergence of new “ornamentalism” in contemporary architecture. Furthermore, the idea of experimental building skins with dynamic, adaptive bahvior is becoming more prevalent, affecting our perceptions of surface, form and space. Further supporting this, Toshkio Mori stated, “The age of mechanical production, of linear processes and the strict division of labor, is rapidly collapsing around us.” I believe that the significance of paneling in the lantern project may have a deeper significance in the wider architectural field, as profound relevance of ornamentation today is evident in structures such as Ghery’s Guggenheim Museum and Frei Otto’s smaller scale “Flexi Office”. With regards to the lantern project, and the way my paneling strategy reflects a natural process, is directly relevant to the idea of ornamentalism as materials, configuration and properties are evolving architecture as multi-sensory. Furthermore, architect Greg Lynn is distinguished for his use of computer aided design to produce irregular, biomorphic architectural forms, as he proposes that with the use of computers, calculus can be implemented into the generation of architectural expression. He explored new approaches to design, moving away from deconstructivism’s logic of conflict and contradiction to develop a more fluid logic of connectivity. This new fluidity of connectiviey is manifested through ‘folding’, a design strategy that departs from Euclidean geometry. Developments in computational design and fabrication media, combined with influential designers and projects have opened up a new realm of technological architectures in prefigured architectural thinking. In ignoring conventions of style and aesthetics, continuous experimentation based on digital generation and transformation of forms is prevalent. Finally, through direct integration of conception and production, the way we create and experience form and space is being revolutionised. However, in the module of fabrication, it was evident that although design technology allows us to create fabulously complex forms, the fabrication process hindered my original design. I was unable to successfully unroll and effectively assemble the pieces to replicate the digital design. Thus, I had to remodel and simplify my design. In exploring the relationship between analog and digital design environments, I have found that digital modelling exceeds analog modelling in accuracy and precision, efficiency and the ability to modify single aspects without having to redo the whole model making process. Although one might not have a model in front of them that they can they can physically touch, digitial modelling in its current stage today enables the designer to toggle different views and perspectives to gain a full grasp of every angle of the model. I experimented with a range of different complexities of paneling approaches. Looking at a few precedent projects such as Innocenti’s Adobe Museum of Digital Media, I was able to see how variable paneling can be applied to create the effect of motion. The idea of fluidity and movement generated from a still structure was a key theme I explored throughout module one, noteably in a few of Coop Himmel Blau’s designs. In this respect I see each module as a stepping stone, building and expanding on ideas from the module previously as new techniques and designs are explored. Observing other international designers as well as the work of my peers has inspired my design. Throughout every stage I have made sure that the conceptual element of my design of working bee behaviour is kept central, and that it is always still cleary expressed. 3D variable paneling has allowed me to create an interesting and dynamic model, reflective of bees continually returning to a particular forraging site. Regardless of any issues I encountered throughout the project, I am extremely happy and satisfied with the final outcome of my model, it has been extremely time consuming but also extremely rewarding. I am sure that degital technologies will continue to develop further to solve the issues we face today.

VIRTUAL ENVIRONMENTS MODULE 4

JAMES NICHOLAS FREIJAH

Student Number: 537512

Semester 2/2011

Group 8

MODULE 1

ENGENDER

ENGENDER METAMORPHOSIS Metamorphosis is defined as a ‘profound change in form from one stage to the next in the life history of an organism. I specified the holistic application of this natural process to an exploration into the physical characteristic variability of a butterfly’s life cycle. Personal perception consistently associates the concept of metamorphosis in adjunction to the butterfly stage of the cycle. This common, ignorant association of a complex concept in this complicated process, triggered insight into this phenomenon and directed my investigations focus on the other, overlooked stages of the process and how they functioned as a whole attributing to and/or instigating change. This metamorphic process is composed of four stages, each form is physically detailed to an extent justifying a ‘profound change’ from that of its predecessor. The egg – for the purposes my studies – is seen as the beginning of the process. Its physical form is significantly different to the caterpillar, which is the eggs successor. The form of the caterpillar is then in physical contrast to the pupa, its successor, and finally the pupa to the form of a butterfly after that. To complete the life cycle and reinforce the motif of shifting form, the final physical contrast is between the butterfly to the egg, as the natural process continues. This logical breakdown identifies metamorphic qualities throughout the life cycle, affectively defining the process as metamorphic, however the question imposing on me, is “Why this metamorphic process is never equally associated with the egg, caterpillar or pupa stage, when they equally illustrate the lifecycles metamorphic qualities.

The fact of the matter is that a butterfly in essence is the final stage of the process and intrinsically the most beautiful stage of the cycle. However, what everyone sees and everyone knows, was not something I wanted to replicate. Even a caterpillar, whose form is mobile and intrinsically interesting, in opposition to the static egg and pupa, I did not wish to replicate. As a result, the aspect differentiating the egg and pupa to the caterpillar and butterfly, visible ‘life form’ development became the most intriguing area to explore and potential initiation for design. The physical form of the egg and pupa encase the life which changes the known organism form, from predecessor to its successor. Representing and understanding the properties of change occurring inside the egg and inside the pupa, hidden from human eyes, seem more interesting than reinterpreting what was already visible – i.e. growth and maturity of a caterpillar or butterfly – when this is also what people already associate to the process.

ENVIRONMENTS

ENGENDER

DESIGN DEVELOPMENT “What is happening inside?” The answer is relatively simple, cellular differentiation. Consider the four visible form changes between a caterpillar and butterfly, the growth of antennae, wings, eyes and palpi. These changes are a result and evidence of cellular specialization. WHAT IS HAPPENING INSIDE?

Focusing on the occurrences of change happening inside the two static stages, is key to defining the processes metamorphic behavior. A linear example is to consider the pupa, this stage of the process stands between the caterpillar and butterfly, encasing the life form while it undergoes the profound change between two forms. This is the main characteristic of metamorphosis, yet we do not see the development of the four visible form changes.

Rather than disregarding what is directly seen and typically understood of this process, I will draw on the parallel between life and light to integrate the ‘known’ into my design. The purposeful development of light will work in coexistence with metamorphosis,

As much as I do not wish to interpret the process as it typically come across, disregarding any stage of any process renders it a process no more. In particular metamorphosis, natural phenomena only fit the definition if a profound form change is present in one stage to the next in the life history of an organism. Emphasis being the need to focus on the entire life cycle.

No designer will be successful if they design separate to the functional attributes of the project, outlined by the brief. The project is to design a wearable lantern. A key statement here, in conjunction to the parallel drawn above, is a lanterns functional light emanation qualities. In a way the proposal to have the living stages, caterpillar and butterfly, represented by light might seem to be ‘killing two birds with one stone’. However it actually seems fitting using the necessary light qualities of a lantern to purposefully represent the visible life form stages of the metamorphic process. The control and manipulation of light dictating the life of the lantern will mean that I can give a metamorphic/ continuous changing aspect to the lantern design.

ENVIRONMENTS

ENGENDER

DESIGNING VIA ABSTRACTION The four physical changes, which outline the profound form change between caterpillar and butterfly, are a result of the occurrence of change at the cellular level within the pupa. It was drawing on this information and the technique of abstraction, that I developed a lantern design. The shape which I abstracted was the silhouette of a pupa. The endeavor was then to recreate its form from the occurrences happening within. Naturally this is cellular differentiation and the specialization of the four physical changes between the caterpillar and butterfly. The impact of the happening within, defined the abstraction of the silhouette into four segments, depicting the pupaâ&#x20AC;&#x2122;s content for all to see. Abstraction assisted in designing as It allowed for the use of the form responsible for hiding development, while manipulating the form to reflect the major changes. It blurred the line between internal and external, materializing metamorphosis.

ENVIRONMENTS

ENGENDER

The product of abstraction modeled using plasticine.

DESIGNING VIA MODELING

Design derived from plasticine modeling, No. 1

Plasticine’s malleability meant that, through manipulation, the process of designing was similar to that by psychograms. The randomness associated with manipulation was mitigate by the process being derived from the product of abstraction and through the developed concept being in mind as the form of the lantern continuously changed. Design derived from plasticine modeling, No. 2

The use of varied media in the process of designing, ultimately provides the designer with a new set of characteristics from which they can continue to design. The process typically leads off from the results of the previous media and from the combination of the successive media’s strengths and weaknesses, the design is refined. At this stage, my design had developed from a series of progressive 2D drawings. Through the drawings I developed the designs’ concept and structure for it visual representation. I moved to using plasticine to continue experimenting with form. The properties of this media allowed for 3D experimentation and easier form manipulation enhancing aesthetics. I could also easily mould the form to the brief, tacking a 2D drawing and modeling a wearable lantern. These capabilities increased the complexity of the design, bringing four profound changes, while maintaining their integrity, to the realization of one unified form.

Design derived from plasticine modeling, No. 3

ENVIRONMENTS

MODULE 2

DIGITIZE AND ELABORATE

DEGITIZE

Loft from contours

ANALOGUE TO DIGITAL

Orthographic top

Loft from contours

Cross-section profiles & curve for orientation

Control point manipulation

Contour Tracing

Control point manipulation

Scaling

Rebuilt the number of Control point

Placing

The method I employed to digitize my design encompassed both contour slicing and image referencing. In preparation, I flatten the aspects of the model designed to wrap the lantern around my body, marked a red reference line and cut the plasticine model into a number of cross-section contour profiles. I traced around the outside of each contour onto paper and imported the file into Rhinoceros, using the â&#x20AC;&#x2DC;PictureFrameâ&#x20AC;&#x2122; command. I was then able to create exact, virtual and independently changeable contour curves from tracing the imported contour lines. I then manipulated these irregular contour shapes via scale, rotation, move and other curve orientation related commands, to best match the contours to the references images. At this stage I lofted together the curves, creating a NURBS surface, which through the manipulation of the surfaces control points, I could change the virtual form to best resemble its plasticine counterpart.

Form development through control point number of and manipulation

Contour manipulation to the desired form

ENVIRONMENTS

ELABORATE RHINO MODELING

Basic 2D Box Basic 2D Box -with Fin Edges 3D Custom Variable 1

This page demonstrates an exercise in design elaboration using the paneling tools plug-in for Rhinoceros. Due to the shape of my design, the panels towards the end of the lantern were continuously reducing in size, an effect which was aesthetically undesirable. However the solution was simple, all I needed to do was rebuild the surface, changing the number of points desired in the ‘U’ and ‘V‘ direction and manually add knots where or if required.

Basic 2D Triangle 1

Basic 3D Pyramid 2 -with Fin Edges 3D Custom Variable 2

Basic 2D Triangle 2

Basic 3D Pyramid 1 3D Custom

Basic 2D Diamond -not using flat faces

Basic 3D Pyramid 1 -with Fin Edges

ENVIRONMENTS

ELABORATE PRECEDENT The technique of taking slices from the surface of geometric shaped buildings is exhibited by the architect Daniel Libeskind in the façade of the Jewish

The Jewish Museum Berlin

Denver Art Museum, Frederic C. Hamilton Building

Museum and Hamilton building (shown on the left). This technique draws on the notion of practicality, as the slices function as windows. They also add to the aesthetic quality of the structures. It is essential for a designs initial perception to ‘wow’ its viewer, however a building is unlike an art form in which it also must be functional. The idea of being able to serve a purpose and still be pleasant to the eyes is critical. The functional aspect I need to concern myself with is light. I find the way Librskind has combined aesthetics and function unique and effective. I would try to employ his means as a precedent to elaborating my design.

The concept of a panelized surface is clearly represented by the façade of Federation Square. In most cases, the panelized structure is made from triangular shapes similar and directive of how I would like to panelize the surface of my lantern. In addition I find the façade’s irregularity and inconsistency fascinating. The surface of panelized triangles are assorted into an array of geometric shapes, with some missing/large chunks cut out.

Federation Square

Furthermore, many isolated panels are indented or have removed mid-sections. Each aspect of this precedent enhance the aesthetics of the building, while also contributing to its functional role in the control of light.

ENVIRONMENTS

ELABORATE

PRECEDENT INFLUENCE

2D Diamond with Fin Edges and Basic 2D Triangle panel

3D Pyramid and Basic 2D Triangle panel, using Offset Face Border

This design consist of the same paneling system as the design above. In contrast, I have coloured (above) and isolated (to the right) the faces I intend to manipulate to affect the perception of light

The form of my lantern developed in inspiration of the two precedents. Using Paneling tools to elaborate, I developed the three prototypes to the left. Each prototype consist of separately paneled sections, creating a dynamic surface similar to the façade of Federation Square. The issue using this paneling technique was that in some cases or if the incorrect control points were used, connections between the separately paneled areas did not match. In this case I needed to to manually add triangular faces, connecting the sections and developing a single form. In the context of light I investigated two techniques to facilitate visibility, the Fin Edges and Offset Faces Border command. I used these techniques to adapt the surface of the lantern with that of the façade of the previously mentioned precedents. Digital media has typically not been as essentially critical for a designer as it is becoming today. Like other media, it brings with it an added element with which the previous designing media

could not. As a result, through the use of paneling tools, I was able to elaborate on the design derived using plasticine, and progressive drawings before that. As critical as digital designing is becoming, a criticism I have is that in essence, the design becomes derivative of an outside source and no longer completely in the hands of the designer. Paneling tools, for example, is entirely a computer generated process. The extent with which the designer limits/tells the program to perform is insignificant to the degree which the computer generates its own response from a number of mathematical equations. Conversely – regardless of the media and the fact personalizing digital design – through the process of design, a designer’s ideas, concepts and thought processes will be retained throughout. As long as a designer is aware of the probability that digital media can dictate the models form, measures can be put in place to limit unwarranted change.

ENVIRONMENTS

MODULE 3

FABRICATE

FABRICATE EXPERIENCE During prototype fabrication I picked up a few key details to assist with the development of the final model: a variation in colour exists between ivory card and the thicker mount board, score lines enabled the paper materials to bend straight – creating a nicer finish – in contrast to unscored folds, which tore uncontrollably. The material strength of triangles with 4mm offset face borders became insufficient, PVA was the preferred glue because it did not discolour the material – however it took longer to dry – and the card cutter was preferred over the laser, as it too left the paper materials with a burnt tinge on the outside.

Although the laser developed sections were finer and the paper was less susceptible to a degree of ripping from the cutter dragging away the paper, the burning discolouration was aesthetically undesirable for a white lantern. To overcome the dragging, I had all of the intricate lines scored and I manually cut them my self. The inner sections of my model could be cut using the laser, because they would be hidden by the façade of the lantern. I foundthat double tab connections were weaker, however were going to be necessary for the inner sections of my design because of undesired tab shadows, super glue provided a stronger unseen connection, also resolving the residue issue.

ENVIRONMENTS

Work No. 1, “An Inconvenient Studio”, was developed by students at the Institute for Digital Fabrication of Ball State University, utilizing MorphoLuminecence and Rhino plug-in tools. The lamp has been design with the intention of providing optimized lighting, enhancing the experience of fashion photography. Lighting is critical in fashion photography, as bright key light is directed above eye level, in combination with softer fill and back lighting to create subtle shadows and a three dimensional effect. The development of “An Inconvenient Studio”, in combination with its integrated infrared sensors, allow for the ‘petals’ to constantly adjust in according to the positioning of the individual photographed. The result is ‘still’ picture quality capturing movement. Of course a degree of aesthetic quality was involved to achieve this final result, however what really interests me, is the clear functionality orientated focus in the development of this lamp. It has and clearly serves a purpose, while looking beautiful. From this precedent I began not only to continue striving for aesthetics in my lantern form while continuing to meet the lanterns functional requirements, but strived to do so in such a way that reflected the original concept of ‘metamorphosis’, in a butterflies life-cycle. I achieved this by asking myself and reflecting of the these two questions: “What does light mean in the context of this lantern?” and “ How can I give purpose to the functional role, lighting has in a lantern?” Light and its association with life, is a motif I I have integrated into this design, failing to fall back on it here would not make sense. I am now linked back to the stem cells which form the structure of this design. The way in which I have chosen to show this through lighting, is through the inclusion of a circular stencil to the interior of the lantern, this allows more light through to certain areas than others.

FABRICATE PRECEDENT

Work No. 1

Work No. 2

This effect where some areas of a structure receive more light than others is well represented in the second precedent I have found. LAVA’s “Digital Origami Emergency Shelter”, contains a sleeping space for two adults and one child as well as a little space for eating and reading, its purpose is to provide emergency shelters in disaster zones. Although the shelter’s concept is quite hypothetical, the artwork demonstrates the role and responsibility of design and construction industries in the aftermath of natural disasters in promoting aid. The significance of its lighting design is that through “the battery or solar operated LED’s, the light brings the shelter to life, turning it into a lantern, a sign of hope.” This precedent makes reference to the purpose with which is associated to the light of the structure and I do not find it coincidence that the connotation associated with light is life. I hope that through the stencil, exposing the cellular structure within the purpose of lighting has become as obvious as in these precedents.

ENVIRONMENTS

FABRICATE

PRECEDENT INFLUENCE

Developed from the influence of the previous precedents I have incorporated a stencil to the interior of the lantern. The shape of the stencil is derivative of circular cells from which the overall form of the lantern developed.

ENVIRONMENTS

FABRICATE

TECHNICAL DOCUMENTATION

ENVIRONMENTS

FABRICATE

TECHNICAL DOCUMENTATION

ENVIRONMENTS

FABRICATE FABRICATION

Full scale final model

FabLab file

Time lapse of development. The section developing is the bottom wrapping arm of the lantern

ENVIRONMENTS

FABRICATE LIGHTING LED lighting system wired in parallel. I created a platform for the LEDâ&#x20AC;&#x2122;s to sit inside the lantern.

Enhanced lighting effects through the cellular stencil, illustrated through Rhinoceros renderings.

ENVIRONMENTS

MODULE 4

JOURNAL

JOURNAL REFLECTION Module 3 concentrated on preparing a digital model for physical fabrication. As I have brought up previously, the added features of designing through digital media have enabled the lanterns form to increase with complexity. Without the assistance of technology to make it into a state which could be fabricated, I do not know how I would have constructed the model. A stepby-step unwrapping process in Rhinoceros took my 3D model and changed it into 2D strips that could then be printed, cut and reassembled to produce a 3D physical model.

This concept of prefabrication was extremely useful in regards to fabricating my model. The process of preparing my 3D Rhino mode into 2D strips, was time consuming in many respects having the file cut by the FabLab minimized all of the time I would have needed to spend cutting the strips out myself. My experience with the FabLab is what I assume construction prefabrication is like, the benefits include reassembling an exact replica of the 3D digital model with efficiency because every piece fits. The irregularities that arise from human error were removed as either the laser or card cutter cut my strips exactly how the Rhinoceros file presented them.

Diving into todayâ&#x20AC;&#x2122;s industry, a major development in the construction industry has come in the way of structures being delivered to construction sites pre-built, or to a varying degree, rather than being entirely built insitu. This process is becoming more and more common and referred to as prefabrication. This means of construction is gaining momentum because structures can be mass fabricated and by technology. This means that materials are cut and pieced together with greater precision and time efficiency â&#x20AC;&#x201C; which is also reflected onsite as the construction time is decreased â&#x20AC;&#x201C; material wastage is decreased and also the costs involved can be dramatically decreased.

The down fall of fabrication technology is that it can only execute the command. There is no interpretation of real life changes, which in this case would be positive. For example in cases where I had score lines, the result was cut and similarly visa versa or if the card cutter could tell when and where it was tearing the paper and incorporate measures to stop. I assume this also applies in prefabrication. Furthermore the adaptability of prefabricated materials is undoubtedly low, as they are make exact to fit. Therefore if the builder changed a section of the structure because of some unforeseen reason or just through human error, the prefabricated elements could not be used. Human intuition in this way somewhat undermines the integrity of what is surely a more efficient way of fabrication.

As much as I can be an advocate for digital fabrication, things change and it is humans who can adapt to change not machines. Then again, most of the time you can just have it remade. Through Virtual Environments I have been introduced to digital means of designing and digital fabrication. I have progressed though a contemporary process of professional designing, bringing an idea from it inception through to a 1:1 scale model. It has been an experience I have enjoyed and look forward to continue experiencing through an architectural degree. I have already found use to my newly acquired Rhinoceros skills, breaking down a friends ArchiCAD model into its geometric shapes preparing it for fabrication. I anticipate that these digital elaboration/designing skills will mean that my studio studies in the coming years will have that added element of complexity which is associated with digital media.

ENVIRONMENTS

CHUN YIP WONG

541385

SEMESTER 2/2011

Natural Process Analysis: 1

ACCRETION- FORMATION OF HAILSTONE 2

1 Initial interpretation of the formation of a hailstone by accretion, capturing supercooled water droplets from the air. 2 Initial scale model which correspond to previous 3D realization sketch. However, as consulted during tutorials, the result can be difficult to translate into a digital model therefore a simplified version was made; still withholding qualities of gradual growth and accumulation.

Natural Process Analysis: 1

FORMATION OF A BAND IN AGATE 3

1 The process to form an individual band in agate proves to forgo multiple steps of transformation over time. It could be described as a process from weak, to disarray, to concentrated and finally reaching organization and rigidity. The design therefore needed to illustrate this layering effects. 2 This 3D realization sketch shows the model being carried on the back.

3 I found drawing with fineliner is too much in control. Because I am consciously drawing what I am intended to draw, it did not produce satisfactory result. Instead, I turned to using Chinese ink and ink brush on Xuan paper. This is a wiser decision given that I have less control but still allows my decisions to flow through it. As more ink drawings are developed, my design is no longer square and rigid on the back but smoother and elegant on the shoulder. Experimenting with different mediums prove to enhance oneâ&#x20AC;&#x2122; s design through unexpected results.

Natural Process Analysis: 1

MOVEMENT OF PRAYING MANTIS 5

1 Fascinated by praying mantis preying tactics, I decided to analyses specifically on their raptorial forelegs. This is a sketch using Chinese ink and ink brush to capture significant striking movements. 2 Academic research undertook by Harvard University analysed and confirmed that the process of an attack correspond to particular angles between joints. Such evident reinforced me to emphasis these joints angles in my design. A drawing incorporating the movements of 'Approach' and 'Sweep', in hope to assist in my development of the overall shell.

4 2

3 Always holding tight on pens and pencils, I have decided to approach my design with mediums I have never tried before. Graffiti style was fun and interesting. My first trial was somewhat satisfactory. That is due to mixing sprays of light and dark blue and black consequently its multiple layering effects which enhanced my visualization of a 3D model. 4 Moving away from sketch papers, I sprayed on half-rotted wood which turns out to produce unexpectedly interesting textures whereby some colours are faded or sunk into the cracks. 5 I found much difficulty to reach a 3D form from 2D experimental works. Therefore, I attempted to work with very heavy-textured mediums. This work is done with Impasto Medium on cardboard. It was immensely time-consuming yet unsatisfactory as its contrast is not strong enough.

Beast

Beast is an organic-like entity created synthetically by the incorporation of physical parameters with digital form-generation protocols. A single continuous surface, acting both as structure and as skin, is locally modulated for both structural support and corporeal aid. Beast combines structural, environmental, and corporeal performance by adapting its thickness, pattern density, stiffness, flexibility, and translucency to load, curvature, and skin-pressured areas respectively. < To amend from previous work, I have chosen black glossy paper with Impasto Medium mixed with Acrylic white paint. The result was spectacular and satisfactory. The texture is much heavier; its “ messiness” and overlaying of triangles (inspired by Beast [right] & its application in Rhino software) resolved my needed imagination to transform this into a 3D form (next page).

< The result has captured the significant element of the praying mantis' raptorial forelegs movements; that is, its simplistic line of movement emphasizing joints angles. A trial model was immediately discarded due to sizing matter, whereby the model could not sit still on the arm unless it is on an angle. Consequently, it is enlarged so that it hooks over the shoulder.

One of the greatest influence towards my final development was the ongoing encouragement to attempting a wide variety of mediums during the experimental design process. The idea of developing a design through multiple trails and errors were emphasized and mentioned during the lectures. I have resolved my design from mediums I have never tried before. As a result, it produces fascinating works that enhanced my ability to visualize 2D into 3D form. Works inspired and based on theories and ideals of surrealism were found attractive. The abstract forms commonly created were mesmerizing just as the MTC Theatre demonstrated by its glowing matrix of tubes (although they were not intended to produce a whole surrealistic style work). Because of its strong emphases on rejecting a direct connection of our conscious mind and permit for chances, these do not work in favour of capturing the essence of praying mantis movements. It is the simplistic line of action emphasizing joints angles that permits such piece to carry a stronger character.

MTC Theatre

Viewed at night the exterior of the building is a mesmerizing matrix of glowing tubes, hovering around the black box of the building, reminiscent of the tubing on the Arts Centre spire, but more graphic, like an illusionistic painting, blurring two dimensional and three dimensional perception. - ARM Architecture

Momento Apagaluz

Lamp

by Ted Savage

However, not to say I have fully neglected such an important theory or theme introduced in the course. In producing my last 2D artwork, I was conscious over the lines directions, yet the many triangles were in random placement. Furthermore, the layering of triangles without waiting for a complete dry on previous layer helps to create the unexpected textures and form.

From Apagaluz, the Momento Lamp, seeking to incorporate dynamism in a static object, "should be used in any position, because it was designed to do so."

Drawing from different theories and applying various techniques (from different mediums) proves to be effective to design development. I am very satisfy with this course providing the resources (esp. online links for precedents finding) consequently being inspired by them and have enhanced my design.

Its clean lines, simplicity and being creative with angles bare resemblance with my interpretation of praying mantis striking movements. I really liked this lamp and agrees that it has â&#x20AC;&#x2DC; incorporated dynamismâ&#x20AC;&#x2122; . As our lecture has mentioned, what it appears to be a minimal design could also possess strong qualities which can be

1 This is the final model made out of 6 regular paper strips. More design thoughts and drawings were made before coming to conclusion, as it must stay tune with being simple yet dynamic. Paper strips model was also recommended by my tutor, for which it is different than the generalised clay-model. 2 Moving out of the comfort zone proves to raise future challenges. Because paper strips model cannot be sliced and contoured like clay-models, the only realistic option (consulted from tutors) is to trace model (above) and fit it by eye. 3 Second attempt at digitizing was very satisfactory. It is much alike to the paper strips model however it was very time consuming to address such accuracy as each line requires adjustment; using functions of Control Points, Bend and Rotate. 4 Form manipulations. 1. Use Control Points to enlarge strips, however found to take up too much surface area. 2. Use Rebuild function to address the issue. 5 Using Control Points

Experimenting with Paneling Tools

Prototype & Lighting Effects

Further Prototyping & Lighting Effects to Create New Ideas

Final Digital Model < Taking away the key message I have interpreted from previous precedents and what I have discovered during prototyping experiments, I have reduced my model to minimalistic form. Straight lines have now replaced the curves as it gives greater emphasis on joints angles as well as being aesthetically dynamic. All of the Voronoi patterns moves towards joints and it is through this pattern that lighting effects make it d y n a m i c .

STRUCTURAL SKIN DEVELOPMENT 1

3 1 1st trial: pattern created by drawing polylines 2nd trial: a better version of pattern was also created by drawing polylines with a border around it, however it is too grid-like thus unsatisfactory

1 2

3rd trial: tracing Voronoi pattern gave the closest look

2 Individually trimmed patterns on unrolled Strip 1 to 6, tried to create a Ripple effect by trimming each individually shapes surrounding the circular lines. The centre of each ripple is located at the intersecting points between strips whereby using lightings to emphasis it. 3 Previous patterns did not fully explore the idea of being intricacy. Not enough lighting will penetrate through the patterns which will also undermine the structure being placed under it. To overcome this, all patterns are to be trimmed out by using Split. 4 Precedents of Developable surfaces : - Peter B. Lewis Building in Cleveland, Ohio, designed by Frank Gehry - Felix Candela, Los Manantiales Restaurant in Xochimilco, Mexico City, 1958 NOTE: Some variation is created but its grid-like appearance was not optimal therefore

PATTERNS USING GRASSHOPPER

Document to fabLab laser cutter

Voronoi pattern created from Grasshopper. This method is much quicker and does not distort the Voronoi pattern like previous ones. Patterns touching the border are all individually trimmed to give a thicker edge.

Definition to create Voronoi pattern with greater variation across

STRUCTURE 1 1 Top strip: Panel 3D Partition. A strong structural system however hundreds of notches must be done manually in Rhinoceros 4.0. Another option is to create this from Rhinoceros 5.0 but ptFinEdges. 2 Bottom strip: alternative structural system: waffle (using contours). This is or could potentially be stronger however it is very difficult to make it work given that some surfaces are floating on midair or are curves that cannot be fabricated.

3 Entire model 1 with a structural system created from Panel 3D Partition. The borders however cannot use notches therefore they are all eliminated as shown in model 2. They are also unnecessary as they are not much of a structural support.

WAFFLE STRUCTURE USING GRASSHOPPER

1 Definition to create the waffle structure. 2 Created waffle structure in Rhinoceros 4.0 3 FabLab documents for ribs: strip 1 to 3, Material: Paste boards 1mm thick, Method: Laser cut 4 Jacob + MacFarlane, Florence Loewy bookshop, Paris, 2001

PROTOTYPE

FABLAB DOCUMENTS FOR RIBS: STRIP 1 TO 3

BODYSPACE 2 Virtual Environments Course Semester 2. 2011 Bachelor of Environments Faculty of Architecture, Building and Planning University of Melbourne