Virtual Environments: Module 2 Jinwoo Jung 585694
Final clay model
The final proposal using the clay model. It has been altered in order to be able to fit on the shoulders more effectively. For the sake of contouring, the spikes had to be removed to digitise the basic underlying form.
Transferring Model
In the initial form digitisation process, I attempted to create the form using parallel contours and faced a problem of uneven and distorted surfaces. By using ringlike non-parallel contours, I was able to have a much more defined contours as well as the digitized form.
Digitising form
By using the PictureFrame command in Rhino, I inserted the photos of the contoured clay model and scaled it. I then aligned the contour outlines to create a 'rib' and lofted it to digitise my basic form.
Basic 2D Panel Exploration
The nature of my design's form meant that some panels were unsuitable to be adapted into the specific shape. Whilst problems like the example below can be reduced by increasing the offset points, I didn't want to make my design too 'crowded'
Basic 3D Panel Exploration
Panel Exploration
I explored the panelling tools further by attempting to make custom 3D shapes, playing around with different layout such as fixed/point-attractors/vectors etc. The example on the left seemed like a very good idea for the 'inner bark' section, but was too literal to be adapted.
Panel Exploration: Rib Structure By notching, I was able to create a rib structure of my form. But I encountered the problem of the rectangular panels being distorted due to the unparalleled offset points. This was resolved by using the TiangulateFace command, which divided the rectangles into triangles and hence created parallel flat surfaces.
Panel Exploration
I also tried to make use of finned surfaces, using the FlatFaces command. It allowed faces to show small gaps on one corner due to uneven offset points, and would allow light to go through. I went on further to offset the faces on this finned surface and add in the rib structure. Whilst the outcome looked very interesting, it seemed way too complex to be constructed.
Precedents: John Curtin School of Medical Research - ANU
This remarkable facade was designed by Lyon, a Melbournebased architectural practice. It is one of many examples of modern architecture that has utilised digital rendering to create a very expressive design.
What I really like about this is its use of glazed panellings . The gradual shift of each aligned panels creates a sense of movement, almost like an example of chronophotography. This effect of fluid motion is what I wanted to adapt in my design to represent the gradual transformation of the cellular 'inner' bark to the outer bark.
Precedent: Times Eureka Pavillion & GEOtube The GEOtube is a very interesting concept in that the web-like saline skin frame actually 'grows' down over time. This is because it is planned to be made out of salt, and as water evaporates, they accumulate onto the frame. A good example of representing 'growth' in a seemingly static design.
The Times Eureka Pavillion, which was discussed on the week 4 lecture, was very relevant to my design both contextual wise and concept wise. The cellular structure of plants which influenced this design gave me some good indicators of how I could approach my panellings – offset faces, ribs, etc.
Generating Final Design
By dividing the offset points up and plotting the offset faces in one half and leaving the other, I was aiming to distinguish the 'inner bark' and 'outer bark' as the inner bark showed cellular spores with gaps that made it transparent. I realised that simply relying just on such characteristics is quite literal.
Generating Final Design
Another challenge that I faced was the illumination of the front 'outer bark' section. If I kept this section non-transparent, then there would be an unpleasant contrast of lighting between the two sections when the LEDs are put into place. So I decided to offset the whole surface, gradually decreasing the size of the offset faces as it approached the front. Whilst constructing the prototype, I realised that the initial offset faces were too thin (Set on 0.2cm) and was vulnerable to breakage. For my final design, I changed the minimum distance to 04cm, and the max to 1.2cm.
Final Model
The final model consisted of a fusion between a 2D panel and a 3D panel, incorporated together via the offset face border. The aim is to create a sense of organised chaos through the several angles of illuminations to resemble the seemingly random but organised structure of a tree bark.
Unrolling Surfaces
At this stage, I decided to try and make a paper prototype (of just a basic panel In order to unroll the panel surfaces I had to colour code each vertical columns to make sure I didn't get confused in the physical reconstruction. An alternative method of unrolling, which was to select the whole model at once, proved to be very difficult to tell which section is which (below).
Prototype/Material Analysis
The first prototype was made primarily in order to experiment material characteristics and also to test out how the actual model could be unrolled and constructed. This basic panelled surface is made with every-day printing paper.
One feature that I like about this material is that because of its thinness, it is able to illuminate light without having to cut out panels. However it showed many limiting features that restricted it from being used like the fragility and lack of rigidity. Non the less it helped me to grasp an understanding of how my model will be constructed.
Prototype/Material Analysis For this prototype of a section of my model, I have included the offset faces to test out its illumination and shadowing effects. I have used thin card paper to construct this section, which proved to be a lot more rigid and easier to get desired shape.
Prototype/potential development In order to try and create a more emphasised feeling of organised chaos, I have attempted to only partially cut the offset faces and lift them up to intercept the light coming through to another different angle. This method could also be used to dampen the light transfer in the 'outer bark' area and create an effect of only the outlines being illuminated.
Reflection
Module 2 was a very tough yet entertaining process that allowed me to not only produce a defined digitised model, but also allowed me to grasp some important designing tactics and ideas that could be utilised in the future. The readings and the lectures proved to be a very helpful resource in my development process, providing me with precedents such as the Times Eureka Pavillion. The reading on material behaviour that was discussed in week 5 gave me a deeper insight on the process of digitisation, and motivated me to further analyse how my natural process can be depicted through my lantern, such as the sense of organised chaos by the usage of lighting. I also felt that through discussions and examples on how models doesn't have to be static, that whilst I won't be able to actually produce a non-static model, I could attempt to unveil properties to make it seem like it is. I am still exploring Rhino- and am also realizing that the more I engage with it and put in effort to learn it, the more ideas become available to me. I will constantly put in effort to familiarize it with myself even more to expand upon greater skills and ideas. I am very much looking forward to Module 3 – generating prototypes may take a long time and be quite troublesome, but will all be worth it in the end.