Module 3 Fabrication Virtual Environments Robert Williams 585 138
Chosen Pattern and Analytical Drawings I chose the skin of a pineapple for my natural pattern. I like how it is a little different and quirky because of its context. From the Kandisky reading I created a series of drawings that focused on the lines and shapes within the pattern. Triangles are a major element and are able to be used to express symetry, balance and movement.
Second Analytical Drawing- Balance
First Analytical Drawing- Symetry
Third Analytical Drawing- Movement
Workshop 1 Emerging In this workshop I translated the flat image into a 3D form. Focussing on the top laye of the skin I identified the scaling involved to replicate the form. Using peaked pieces of paper I copied the gradual increase and decrease of the extrusion. I then made an iteration of this but using curved bases rather than rigid triangles, forming a tear drop kind of shape and still exploring the scaling concept but attaching them smallest to smallest and largest to largest , creating a line of these scaling groups.
Further Development I revisited my emerging form using the peaked pieces paper (left) and thought about how to join them together to create one surface. I used folded paper to create three surfaces that incorporated an angle and when attached to together formaed an arch. I made multipes of this form in different sizes and looked at how to attched them. I decided on a using symetry to create a geometric ring. To join the rings together I continued with this line of symetry and rotated each ring to create a grouped form.
The Formation Process Behind the Skin of a Pineapple I researched how a pineapple gains its shape and found that growth up and outwards was a major element in it’s development. This fitted nicely with the scaling concept that I was already exploring in my work. Fig 26
Reference: Birgit Bradtke 2007, Tropical Permaculture, accessed 16 March 2013, < http://www.tropicalpermaculture.com/growing-pineapples.html>
There are many species of Pineapple with the common threads being that they grow on the ground and have green spiky leaves. The pineapple emerges from the centre of this circular arrangement of leaves on a stalk. The top of the Pineapple is part of the plant, with the fruit growing around the spiky leaves beneath it; kind of consuming them as the fruit gets bigger and bigger. The leaves reduce in size because of this and leaves little spikes on the outside of the pineapple. The reason for getting the diamond or square shape around the spikes is also to do with the shape of the leaves as it grows. Refer to Fig 26 & Fig 27.
Fig 27
What I have taken from the pattern is its triangular spike and made it 3D by using increasing and decreasing scale in Model 1. The model is emulating the form of the remains of the leaves on the fruit. Model 2 is a little more removed from the base pattern. Iâ&#x20AC;&#x2122;m still using the spiky leaves as inspiration but using mirrored symmetry to transform the angled curves into connected rings to create the overall form and can link it to the idea of outward growth that the Pineapple goes through as it matures.
Rhino Modelling of Emerging Form
The singular geometric ring
Third Configuration
First configuration
Fourth Configuration
taking inspiration from the previous exercises I further explored scaling and growth in Rhino using the geometric ring to create arrangements that showed these concepts. I created my basic ring using geometric curves, using the points to transform them into irregular shapes and created surfaces from these points. The first uses copy, rotate and scale and looks at the various angles that I can connect the rings at but creates a reasonably flat arrangement. With trying to expand the overall structure I used the Polar Array tool to copy five rings spaced vertically in my second attempt and used different scaling and rotations to fill the gaps, which created clusters of shapes to show the growth. The third explored the use of a central piont and using the 3 Point Plane Mirror function I expanded out from the central ring; branching out in different directions but not altering the scale. The Fourth arrangement I created led on from this central point concept. Still using the mirror function made a spiral down the bottom and went upwards and out, creating more natural curves; appears as a more organic structure. The Fifth came back to the idea of a cluster but explored the idea of what lighting effect I could create through layering the rings on top of each other. I elongated some rings making them resemble crystals and used ranging sizes to create this closely connected form.
Second Configuration Fifth Configuration, Front View
Fifth Configuration, Right View
Further Development of the Lantern Form
I looked at how we are able to hold pineapples. Either from the top or bottom is possible but the bottom is probably more comfortable and practical. I decide that the lantern will be held by an up turned palm.
I take inspiration from how the pineapple plant grows as it produces the fruit. I have previously mentioned itâ&#x20AC;&#x2122;s up and outward direction of growth, which I tried relating directly to the overall form. The red arrows indicate the direction(s) that the form is â&#x20AC;&#x2DC;growingâ&#x20AC;&#x2122;.
I thought about the lantern wrapping around the arm like a vine and growing in width as it spiralled upwards. Also spiralling outwards from a central point of the hand. From these light would stream out in different directions much like the form itself.
Thinking of the lighting effects, I tried creating a form that utilised lights placed in the centre and that would shine through clustered components to give off layered shadows. Using a form I created in Rhino in the previous week (far left), I tried intergrating it with the human form. I feel it could be an interesting solution as it incorporates the spiral from the hand and leads upwards branching off over the shoulders and head. This overall size has the potential to create interesting lighting effects.
Proposed Lantern Form For my final design I have merged my first and last forms, taking the growth from the palm of the hand and the tenticles wrapping around the shoulders, neck and head. I acknowlegde that this is ambitious, (It can always be simplified), but I believe it will be worth it considering the lighting effects gained from the overall size and will create the belief of assimilation between the human form and the lantern. The layering of shadows from the growth at the palm and the direct lighting around the head add to the presence of the combined forms.
Desired Lighting Effects of My Developed Form
Fig. 28
Fig. 29
The lighting characteristics that I would like my form to possess are a mixture of direct and layered lighting. The layered lighting would be from the cluster of components on the palm of the hand and as the form expands up and around the shoulder direct beams of light would be emitted from the line of components, creating walls of light around the neck and head of the wearer. The images illustrate the elements of which I would like to use. The top image (controlled roof system) shows the use of direct lighting and the pattern it can create on a surface. This image uses geometric shapes like my form and shows the hard lines in the shadows seperating the light from the dark. It is appealing because the shape of the openings are defined when they are projected onto the floor, which is something I would like to replicate in my lantern. The second shows the layering of shadows and how they can be used to distort a space and give it a new perspective. The cluster growing close together and out from the hand in my form would create these intersecting shadows to depict centred energy of growth like in a plant. As the form extends out from this cluster the lighting clarifies and becomes simpler, allowing the lighting to be less concentrated around the head and gives direction to the form.
Employing the Lighting Effects in My Lantern My lantern will be made up of connecting individual components in lines. Because of this construction, each component has a hole in the centre in the shape of a irrregular pentagon. In my sketch I combine the hole locations of the rings and the light direction to show the clustering and layering of light around the hand and the light dispersing up and outwards around the shoulders of the human form. I belive by utilising these direct cuts in the components I can create this hybrid effect.
Simplified Lantern Mockup
Having thought about the lighting effects that I wanted to achieve I made a paper model to see what kind of result I would actually get. I decided to base this model on the growth in the hand to see how individual ‘fingers’ work with the lighting and how the projections would work together when the ‘fingers are grouped. Since the form is made up of the individual ring components I represented these joined rings by cutting holes into opposite sides of the ‘fingers’. To the right are shots of the projections achieved from the direct cuts into the paper. I was using a small LED torch, with the light travelling along the whole of the shorter ‘fingers’, but not quite reaching the end of the longer one. I then wanted to experiment with how the projections would appear when the individual ‘fingers’ were joined together. The formation (above) I used is a simplified version of the original plastacine model which reflects the outward growth of the pineapple plant.
Exploration Continued I then extended the model further by adding a piece extending along the arm. Again I simplified the form to run straight up the arm rather than twisting around as shown in the previous plastacine representation. I did not intend for the paper model to be appear 1:1, I have just made the extension to long in taking inspiration from my earlier sketch (right). Overall the form is in the wrong proportions to the body, needing to be thicker. However this gives an idea of how the lantern may be wired with LEDs in future fabrication. It also shows I would need to have at least one LED in each ‘finger’ and many along the extension for it to be effective. As a result this would mean a lot of wires and lights which will make it complicated in fabrication like Paul suggested in the last tutorial.
Simplification Thinking about Paul’s comment of not making my lanternt too linear and having looked ahead at what is required in creating a contour model in Rhino and the panelling tools available, I realised that I had over complicated my design and decided to bring the lantern back to a much simpler representation. I brought the ‘fingers’ growing from the palm back to one expanding mass of cubes representing the rings, with a single line of components running along the outside of the arm (not twisting around). At the shoulder a similar expanding mass but with smaller growths suggesting ‘finger’ like forms protruding alongside the head (like the original sketch) From this I created a singular volumetric form (far right).
Digitisation Contour Method 3 Variation
I found drawing the contour lines onto the model quite difficult and so the lines aren’t as neat as I would like but I when I cut the model into sections it clarified the lines, finding that not all the lines were necessary; especially around the protruding ‘fingers’ at the top.
Front
Side
Top
Back
The extra ‘fingers’ were created separately because of the serparate contours.
I used the Curve: interpolate points function to trace over the sections.
I placed points along the side view of the form to help achieve the right spacing.
Then used those points to move the traced sections into position.
Here I used the ‘Loft’ function to create the surface of the form.
Unable to make the ‘finger’ hollow so light would pass through it. I was shown how to do this but I was unable to repeat the process successfully.
Development of New Form With a direct approach in mind I revisited this earlier sketch (left). Having tried to digitise something a little too complicated for my skill set, I thouht a singular organic form was best. This earlier sketch demonstrates this growth through the expanding spiral up and around the arm. This simple representation of growth is what I would like to replicate but in a smaller size to reduce the overall complexity. Having reflected on what I has done so far, I feel that I had overcomplicated my form; went for too much and didnâ&#x20AC;&#x2122;t really consider the constraints that I brought with me, like my own skills and time.
In these sketches I tried to keep it simple. The first is another version of the form modelled above but smaller and with only two twists. The second and third relate more to the pinapple plant and the pineapple growing from the centre of the mass. The fourth utilises scale to show this growth by starting thin at the bottom and being the thickest at the top. The fifth is simplification of the fourth starting in the hand.
Scaled and Orthogonal Views This is my simplified form represented in 1:5 scale. I feel it is the best option in terms of depicting growth in a simplified form which will be easier to digitise and fabricate. Because of its simplicity it leaves plenty of options to be manipulated using the panelling tools plug in.
Top
Bottom
Side
Front
Back
Paneling Designs
Isometric view
Side view showing the scaled Unrolled strips with cuts sections
Sketch of scaling cuts when arranged
From exploration in panelling tools I came up with these solutions incorporationg growth and scale into the panels to emphasise the growth in the form.
Alternative 1
Alternative 2
Alternative 3
This design separates the form into three sections of different numbers of control points. This element is common in each of the three iterations.
For this second version I took the same panelling system of the three scaled sections. I chose to cut strips into each triangle, one strip in the bottom section, two in the middle section and three in the top section. This is taking inspiration from the Annexe of the Art Gallery of Ballarat (Fig 9). These direct cuts will project defined shapes onto surfaces and there is a possibility of layered projections because of the angles of the panels which would create an interesting effect. Again this was a simple design solution but adding a little complexity compared to the first iteration through the separated.
The third iteration uses a custom 2D panel with incorporated cuts. When using the Custom 3D Panel function it put bends in the panels so I then used the Custom 2D Panel function which gave me the wire frame. This allowed me to manually draw in the surfaces making sure they were planar. This system uses the same principle of having three scaling sections, with the bottom being closed, the middle having small cuts and the top having the biggest cuts. The difference is the direction of the triangles. The orientation was done by using the function, however by having the triangle cuts on their sides it creates a basic spiralling effect. The triangles point around the form leading to the top creating growth and movement within the panelling system.
Since I was having difficulties creating my own 3D custom panels, for this panel system I used the 2D â&#x20AC;&#x2DC;TriBasicâ&#x20AC;&#x2122; pattern in the provided library to make sure the panelling worked correctly and achieved a level of simplicity. To begin with I looked at communicating this transition of scale upwards as simple as possible; a direct solution. To do this I used simple cuts mimicking the shape of the triangle panels. To emphasise the growth of the lantern the bottom section has no cuts, the middle has small cuts and the biggest section at the top has the largest cuts. This system is easy to fabricate with simple shapes and communicates the ideas of growth and scale effectively.
Isometric view
Unrolled panels with cuts
Sketch of scaling cuts when arranged
Isometric view
The original panels
The final panels
Paper Protoypes Testing Material Properties and Lighting Effects
Alternative 1
Alternative 2
Alternative 3
I used 80gsm paper for these prototypes which made it light weight and delicate. The paper itself was not thick enough to block the light completely so the rings tend to glow, however in each case a clear projection of the cuts were produced. I made protoypes of these panels and tested for what lighting effects could be achieved un terms of direct lighting and possible layering.
Change in Direction Prototype Fabrication From reviewing Module 2 it was felt that I had fulfilled the requirements but had lost a much better form in the process. Since I wasnâ&#x20AC;&#x2122;t happy with what I had produced in the module, I went back to my earlier form (right) made up of the individual geometric rings. For this prototype I unrolled each ring and printed it onto 80 gsm white paper and cut out each section by hand. Working out the best size to work with was tricky because of the limitations of a A4 Printer so my first attempt was a little small. The next print out I worked out where the tabs went along the edges of the surfaces, deciding that 4mm wide was the best size for the tabs. Each ring was identical so I repeated the same process until I had made enough components to create the form. This prototype was also used to work out how to connect therings together. I looked at connecting them using the same sides (far left) but this method didnâ&#x20AC;&#x2122;t allow a dramatic curve. But by similar triangles I was able to better replicate the spiral at the bottom of the form.
Prototype Fabrication Continued
I continued making the components and connecting them in sections using sticky tape. The paper that I used however was not very strong and could not support the weight of the branches at the angle that they protruded. The components under stress would buckle and become crushed by the other components. There was a point where the form could be balanced but was not very stable (shown by the series of photos below). The prototype portrayed the concept of growth up and outward well from the front, however the profile veiw was very flat and didn’t convey this concept at all. This ‘flatness’ will be developed so the whole form from either view point is inkeeping with the concept of growth. Positive characteristics though are the geometric feel of the form overall, with the many triangular faces and pentagon openings in each component. The spiral at the bottom of the form is also an attractive part, with the spiral configuration beginning just in front of the hand; ‘growing’ from this point. The other curves within that make up the form are also aesthetically pleasing because of the interaction between the rigid outlines of the components to create a curving outline.
Reflecting on the Physical Properties of the Prototype After completing the intial protoype I looked at how the light was going to travel through each compnent to reach the ends of each â&#x20AC;&#x2DC;branchâ&#x20AC;&#x2122;. In the physical model I had used similar sized trianlges on the components to attach them to each other, however when cutting these unneeded panels out the triangles would not always line up, with gaps forming which would allow the light to escape (shown below). From this result I went back to the Rhino model and adjusted the components so the surfaces joined to each other right around the egde. This allowed me to remove the internal walls as a means for light to travel throughout the whole form. Through the process of joining the components in this way I was able to make a hand grip in a similar position to where I held the paper prototype. This involved closing up one side of the of the components to protect the hand from possible heat but mainly to provide a strong section in the lantern to carry it by.
Original unjoined components, some intersecting with each other
Joined components
Components joined using similar triangles. The werenâ&#x20AC;&#x2122;t all the same size and so left gaps between the connections (red ring).
Hand grip incorporated into the lantern form
Addressing the Form of the Lantern As mentioned earlier, after making the paper prototype I noted that the profile view was very flat and did not portray the idea of growth very well. To change this I added extra ‘branches’ coming off the form, bending outward. The prototype also had problems in balancing and by having the extra branches ‘growing’ in the opposite direction it will help to balance the form when being held (shown right).
Revisiting the Lighting Effects Precedent images
Arrangement of shadows from Module 1
Experimenting with the complexity of the triangles in closing up the ring
Scaling cuts system from Module 2
I still wanted to have a mixture of direct and layered lighting effects and so went back to my earlier modules. The sketch of the shadows (far left) depicts a different form but the idea of the cuts helping to depict growth through the concentration of the light is something I would like to retain. In Module 2 I came up with a scaling cuts system through separating the form into sections and panelling in accordance to the section (left). The lowest would have no or very few small cuts, the middle would have medium sized cuts and the top section would have the largest to produce the most light. In transferring these ideas to the components I looked at totally enclosing the bottom rings, so there were no holes for the light to escape. In this exploration I tried to simplify the geometry and levels of triangles (going left to right) however I prefer the first arrangment because of the complexity of the shape but feel the hole in the centre helps to emphasise this comlpex arrangement of the triangles. I decided then that the cuts would be on the triangles that create the hole and would change the frequency and size of the cuts depending on the components position within the form.
Creating the Cut Panels Using the ‘Dupboarder’ and ‘Offset Boarder’ functions as before, I created cuts in the triangles that made up the holes in each component. I made the decision not to cut into the trianlges that made up the width of the components so as to avoid too much complexity. If I were to apply cuts to these triangles as well, I feel that it it would make the form to busy and confronting to the viewer. Another factor was the strength of the material and allow it to be self supporting. By having these spaces intact, it increases the strength of each component. I made a prototype component using the offset boarder technique (bottom centre). It works well in letting light out but the thinness of the struts is a concern. The paper started to bend and did not hold it’s shape if knocked. This may also be the strength of the paper, however in future I will trial thicker, sturdier card and increase the width of the struts (which were only 2mm). Another issue was the tabs being slightly to big and pertruding past the width the of the struts themselves. In the next trial I will make sure the tabs are better positioned and of the same width as the struts. To convey the concept of growth I applied these cuts to the whole form, starting with none at the beginning of the spiral and as the it comes to the hand grip small cuts appear (bottom section), with their frequency and size increasing as the form grows. When it reaches the point when the components are branching off, the cuts become larger in size (medium section). As the branches continue out the cuts become more frequent and larger. This growth continues towards the end component until the last ones are reached, where the struts are 4mm thick and create the largest openings with every triangle cut into. The overall effect of these cuts is impressive and through the complexity of these openings, their frequency and concentration portrays the growth up and outwards of the form of the lantern (left).
Fully panelled form
Individual components showing the change in cut sizes
Prototype component
Scaled cuts showing direction of growth
Fabrication of Prototypes Prototype 1
Prototype 2
Prototype 1 is the section that accommodates the hand grip and I wanted to see if this was modelled correctly in the software and it was successful in providing this function. The material I used was Ivory Card. This was easy to cut and manipulate into shape but I feel that it wonâ&#x20AC;&#x2122;t be strong enough to support the upper section of the lantern, resulting in collaspe. For Prototype 2 I chose one of the upper branches because it has complicated connections and cuts into nealry every face, making it appropriate for testing lighting effects. The material used was Mount Board and is much stiffer than the Ivory Card. This makes it much stronger and has a higher chance of supprting the whole lantern. However it proved difficult to manipulate compared to the thinner card. Another outcome was the need for dashed lines rather than scored on one side. The dashed lines wuld allow the two way movement the components need.
Prototype Lighting Tests Testing Protoype 1 with LED lighting I found that the material is thin enough to allow light to transfer and results in a soft glow given off from the section. One draw back from the thinness is that the tabs can be seen as darker shadows. I would prefer that the components are joined seemlessly as they continue up and out; create a sense of flow and continuality rather than the end of one coponent and the start of another. Prototype 2 was more successful in controlling the light through the cuts and produced some promising results with projecting the triangle cuts onto the wall. In having to wire these prototypes I found that my hands were to big for the openings and so it was rather time consuming to do so. When conctructing my final lantern I will build the components into smaller sections such as two or three and work out the wiring lengths for the next section before attaching it.
Final Lantern Fabrication Process
I had the Fab Lab use the Laser Cutter to cut out my surfaces. I then used a stanley knife to detach each piece from the board.
Pile of waste from the cutting process. Because of the irregular shapes Iâ&#x20AC;&#x2122;m not sure if I would have been able to reduce this.
Cut out pieces.
To make it easier for myself I cut the board up into sections, so I could rotate each one separately to ease the cutting process.t
I used a steel ruler to cut the knife as I cut off excess tabbing.t
I then folded and glued each compent.
Piles of finished pieces.
From the folding process I was able to find more excess tabs to mark and cut off.
Fabrication Continued
Some completed components.
The 40 completed individual components.
Because some of the cuts were quite large compared the panel area it made the edges weak. To bend accurately I used at metal ruler.
Attaching the components in small groups.
Excess tabs. (Quite a few)
Close up of first group.
The mount has two layers and if the tab isnâ&#x20AC;&#x2122;t bent far enough before gluing, the material will split if more of angle is forced upon it.
Components attched in groups of twos.
Fabrication Continued
When joinng the components together I found that the cut out had been flipped and was inside out. After gluing the component together I had to un do it and fold and glue it the other way. This solved to connection issue but now glue residue was obvious and burn marks were on the outside rather than the inside. Thankfully this only happened with two components.y
Components connected in slightly larger group to help construction.
Tested where the optimum position for the LEDs were. This section is the start of the spiral and so only requires minimal lighting to show growth.
Measuring the wire out over the sections.
Marked LED positions inside the components.
I wired the LEDs in parallel because the multiple directions neeeded and protection from LED(s) failling and breaking the circuit.
Continued
Marked positive wire with black dot.
Sections with wiring prepared.
Next section attached with wiring.
Used solder to connect wiring and LEDs and held in place with masking tape.
First two sections connected with wiring.
Next section attached with wiring.
I made the wiring for the following section in preparation to attach it.
NExt section attached with wiring.
Continued
Joined sections so far.
Lantern is starting to take shape.
Attached end of branch with wiring. Top section attached to finish branch.
Finished lantern viewed from behind.
Finished lantern viewed from the front.
I added a battery pack and switch.
Added extra card to support conections in stress areas.
Lighting Effects First Impressions The lighted scaling cuts in the components help emphasise the growth in form. The projections are defined as well as layered, which are the lighting effects I was trying to achieve.
Post Fabrication Lantern Detailing
In an attempt to improve the surface quality I experimented with using white spray pain to remove burn marks, glue stains and reduce the prominance brown middle layers of the mount board. I tested this method on Prototype 2, with the spray paint creating an even surface with a gloss finish. However it did reduce the appearance of the brown cut lines and this was the main aim of the using the spray paint. My final lantern does have some burn marks and glue stains but I believe are minimal in comparison with the whole form. Using the spray paint would be a nice finishing touch but I believe not entirely necessary.
Assembly Drawing of Lantern My lantern had very complicated assembly process so I chose just explode one branch outwards. Each connection is different and that is why the connections look slightly rotated compared to each other.
Nested Cutting File Due to the irregular shapes of each surface this made nesting them together a little challenging. It was hard making the most of each page, especially in the curves of the pieces. As shown in the fabrication process there was a considerable amount of off cuts. I would estimate around 30% waste in total.
Analysis and Reflection of Precedents The Kandisky reading at the beginning Module 1 identified the main elements of my pattern. These were the triangle present in the arrangement and the growth and scale present as well. Researching how the pineapple grew was also further supported and influenced my final design of the form and the panelled cuts. The examples of the lighting effects also clarified what I was trying to achieve and having the visual image helped understand how the light was behaving in those instances and allowed me to replicate that in my lantern. From the end result I think I was successful in this. The A’Beckett Tower in Melbourne (Fig 10) illustrates the idea of growth through increasing scale of the rectanglur window ‘eves’. This transformation in the facade gives the effect of being able to look through the building at lower levels and as the building goes up this view diminishes from the increasing size of ‘eves’. It is this kind of effect that I applied to my panels but in reverse; as the lantern grows the cuts start small but gradually grow right up until the final components are reached.
Kandisky inspired abstraction of pattern.
The Great Hall of Sydney’s University of Technology (Fig 4). The use of triangles to create an angled surface was the focus for me here and was almost like a puzzle; mcuh like my own lantern form. It gives a sense of randomness but also uniformity to create the one surface. This randomness of size is definitely evident in my fianl lantern however I believe I have used them to create a united form, much like the cieling of The Great Hall.
Fig 10. A’Beckett Tower, Melbourne, Victoria
Layered and Direct lighting effects.
Fig 4. The Great Hall of Sydney’s University of Technology