VIRTUAL ENVIRONMENTS MODULE 4: REFLECTION
Karen Dionisio-See 613168 Semester 1 2013, Group 5
IDEATION Research on the Natural Processes Sea Stars or Starfish are marin organisms under the animal group of Echinodermata. These invertebrates have 5 or more limbs that extend from the core of its structure. Moreover, these creatures have interesting and unique spines that cover their body and follow the growth of their arms. This characteristic of the starfish has become the basis of my chosen natural pattern.
The pattern of the starfish can also be explained through the Fibonacci sequence that can be associated in most of the natural processes in plants and animals. For instance a starfish has 5 limbs that can be linked to a pentagon. If lines are drawn to connect the vertices together, all the sides would be of equal length. This animals would then have a five-point symmetry with a ratio called Phi or Golden Ratio can be found.
The development of this natural pattern starts from a single cell that evolves into a bipinnaria larva, which has a bilateral symmetry. This concept conveys a mirror symmetry that divides the structure vertically. After a few weeks, the larva grows into a young starfish having 5 or more limbs radiating from its center. This starfish then becomes pentaradially symmetric up until it reaches its adulthood. This type of symmetry is common to most echinoderms that means it can be equally divided into 5 parts. Through this process, the spines of the starfish then tends to follow the development of its limbs.
bipinnaria larva
Young Starfish
IDEATION Emerging Form/ Clay Model
Pick a focal point
Based on Poling’s (1987) Analytical Drawing Kandisky’s Teaching at the Bauhaus Rizzoli, I have extracted patterns of balance, symmetry and movement from the natural pattern I have chose. In getting the movement, which is the basis of my recipe, I have incorporated both analysis and transformation in this process. For instance, I have taken a focal point in starting the pattern that has been emphasized by Poling in his discussion on the second stage of analytical drawings. Furthermore, I have used transformation by creating different possiblities in developing a pattern that is not obvious at first glance. With these drawings, I have made a pattern of movement that eccentuates the recipe of growth, layering and repetition.
During the workshop, I have constructed an emerging from form paper model. From the basic shape of triangle, the form has been tapered to change the geometry of the structure and then attached halfway on to the next layer. In this way, the model shows the recipe.
Also, I have made a clay model that demonstrates growth and layering that is the basis of my designing in the second module.
Make 5 of the chosen basic shape Repeat step 2 by connecting the new layer to the previous one.
Other designed clay models
IDEATION Preceding Buildings/ Lighting Effects The first image is a university library by the Chabanne & Partners Architects in Reims, France. In here, the layers of the buildings of the library is evident. The connecting corridors gave me an idea of how to put the layers of my design together as well as how to design my lantenr. In the next modules, I have developed my model into this simliar way to showcase the recipe of layering. I like the way it is individually built yet as a whole, it creates a wonderful and unique structure. This is a building in Germany by an Australian architect. In this structure, the layers of the different floors of the building is evident as it grows its way to the top that tapers to the center. This structure correlates with the emergin paper model and the clay model I have created during the workshops. This helped me think of how I will show growth in making the design of my lantern.
This is an image taken from the Patterns and Layering Book of the Japanese Spatial Culture, Nature and Architecture. This structure definitely is similar to the paper model I have formed. As the triangles are tapered, it is great to see the lighting effects it shows and how the different layering of the shapes affects it too. This becomes the basis of my lighting effect in my final lantern. Another aspired lighting effect is the layering of the shadows of trees. This is the initial lighting effect I aimed for that is seen in some of my first prototypes.
IDEATION Ways of Wearing the Lanterns
Using the sample clay models I have done, I sketched some ways on how to carry the lanterns: 1. Carry by hand like a bag 2. Wrap around the neck 3. Put through the arm The final sketch is what I further developed and what I find interest in.
Final way in wearing the lantern with the final model.
DESIGN Contouring Clay Models/ Digitizing
In this Module, the design and paneling of the lantern is focused on that would incorporate the preceding lighting effects and the aspired form of the model. Thomas Heatherwick’s talk has discussed on the the way the environment, communication and lighting factors can affect the design of a certain structure. For instance, the simple bridge in London has been created in a way that does not break into two but curls to the other side of the bridge to avoid the connotation of breaking and pain. This context made me think of how I will hold my lantern and at the same time make the paneling design of the lantern to show my lighting effects. In this contouring tutorials, I have tried using the second method by drawing parallel lines on the clay model. However, since my model does not need to have an imported image file as its basis for digitizing th model in Rhino, I have decided to just remake the clay model straight from the software. This has been digitized by extruding in a tapered way a basic shape of a pentagon. I then repeated the method 5 more times to create the layers of the model.
DESIGN Prototyping/ Testing of Materials
1st Design, custom 2D
2nd Design, 3D Pyrmaid
3rd Design, custom 2D and 3D
1st and 2nd layers of the 3rd design
The lecture explains on the different ways of composing patterns to produce the aimed design. In here, I have made a few paneling designs of all 2D and 3D patterns as well as a combination of both.
DESIGN Initial Prototypes/ Different Materials Used
Prototyping is an important process in designing a product. It is a working process that includes the testing of the materials which would be used for the fabrication processes. In here, the material should work with the final design of the model and its preceding effects. In the following images, parts of the first 2 layers and the base has been put together for testing. In the first prototype, I have used an ivory card that showed the layered effects that I wanted in my lantern. The second prototype is made of a black cardboard. Although the effect may be similar to the first one, it has a more defined lighting effect that does not correlate with the lighting effect I wanted. The last one has two different patterns of a plain 2D panel and a 3D tapered triangle. As seen in the picture above, the tapered triangle has less light that goes through.
FABRICATION Changes in the prototypes to the final product
After choosing testing the sample prototypes on the previous module, I have started making half/ full prototypes of the lantern. In this module, my focus was on finding the problems of the model and solving them to produce the final lantern. The first problem I realized was that the whole model was very two dimensional. Therefore I lofted the top and bottom parts of the model to create more volume.
The second issue was the fit of the model. Since I wanted to put my arm through the lantern, the initial design became uncomfortable on the way I carry it. Therefore, I modified the shape of the model to fit it next to my hit, which is a better way of carrying the lantern.
FABRICATION Final Product
The fourth problem was the layers because it seems very detached and fragile. So I tried to attach 3D triangles on the layers. However, it was difficult to align the shapes to the layers. Thus, I decided to remove the connectors and simply attach all the layers on the bottom.
The last problem would be the bottom part of my lantern. It was complicated in attaching this part to the rest of the model. After seeing some buildings with a similar shape like this one, I have realized that paneling the bottom part would be the best way to put this portion to the lantern. Final Product (Digitized)
FABRICATION Cutting Template/ FabLab File -> Used 5 sheets of ivory cards -> Labels put on each part ->All red lines are scored while all black lines are cut -> Fabrication was done by using the CNC Card Cutter
FABRICATION Assembly of the Model -> Prepare the materials (glue, cutter, scissors, cutting mat, clips) -> Remove the cut-outs from the ivory cards -> Attach parts of the layers (Repeat this method until the last layer) ->Attach the layer to the side of the lantern -> Put the parts of the bottom portion together -> Attach the layers to the main surface -> Attach the bottom portion to the lantern -> Include the LED lights and battery inside the lantern -> Put the parts of the top portion together -> Attach this part to the rest of the lantern
REFLECTION Recap/ Summary of the Whole Process
Module 2
Module 1
Natural Pattern
Paper Model
Clay Model First Digitized Model
Module 3
Final Lantern
Second Digitized Model
Way of Holding the Lantern
REFLECTION Final Lantern Model
REFLECTION Final Reflections on Digital Making
In the last 10 weeks of this course, I have learned a few things on the way digital technology has changed my view on design, making and the building environment. Firstly, I realized that in designing a model, there are many features that one should incorporate in fulfilling the final output of the model. This means that materials and the way people can interact with the product should be experimented with and should be well thought on. These ideas can be made through the use of the digital world. For instance, in making the lantern, I have used Rhino software to understand what forms and panels can be put in my design to show the pattern I wanted to create. Consequently, I have tested produced these prototypes using the CNC Card Cutter to examine on the lighting effects it would convey. Furthermore, these digital technologies also helped me realize the problems I would encounter once I fabricate the design from the software to a physical model. For example, without the use of paneling tools in Rhino, I would not be able to put together lofted surfaces in the lantern. With these new knowledge of the digital world in mind, I begin to realize that some things that may seem impossible to be built in the real world, may actually be created using digital technologies and softwares. These help the construction of the unique and different patterns and buildings become more accurate and feasible. Without these things, the architecture world would be dull, flat and repetitive. Through this new technology in building models, I begin to realize that the creativity and imagination of every designer is put into test. In here, architects can fully expand their knowledge in creating buildings and structures that would encapsulate their originality and innovativeness in the world of design. Although I had some difficulties in understanding how to create a lantern from the software, all the processes that I have been through was all worth it. From digitizing the models to developing the final model was all through the method of prototyping and testing. Of course, without the Rhino software, the paneling and the whole lantern would not be present today. Additionally, the Card Cutter, made it easier and possible to accomplish the final product of my lantern.