Module 4

Module Module Four Four

Syela Daniela Student no: 568991

Semester 1/2012 Group 8

chapter 1 IDEATION

INSPIRATIONS At the beginning of the first module, I looked at two natural processes, they are the flower blooming process and bird’s flight. Even though those two processes were not chosen as the final one, they had inspired me throughout the idea development.

FLOWER BLOOMING PROCESS The process of blooming starts from compact bud that then expands and becomes extended away from the bud. To understand more about the process, time lapse drawing of a blooming flower was drawn. The sketched triangles depict the density of the petals in each step of the blooming process. The purpose of the sketching Figure 1.1 is to make abstraction to move away from literal translation of the process of blooming flowers to be applicated into the design (Figure 1.1). Then another abstraction was produced (Figure 1.2).

To translate my abstract idea into reality, a model from clay was created (Figure 1.3). The lantern will be worn on the body, extending from abdomen part to over the shoulder, depicting the transformation process of blooming flower, from a little bud to becoming a beautiful extended petals forming like a crown.

Figure 1.2

Figure 1.3

BIRD’S FLIGHT PROCESS The observation of the bird’s flight process was started by looking at a mapping of bird’s flight across the latitude (Figure 1.4). The mapping shows that birds travel from one point to many other places but then they always come back to certain places. This gave me an understanding that the point at where they always come back to, might be their homeland. So that the pattern of birds flight is that it travels to many points then come back to one certain point.

Therefore, I started to sketch a few sketches based on that idea. However, this idea was unsatisfactory since no further idea development interested me.

Figure 1.4

Figure 1.5

But then this moment of frustration brought me to move on to other natural process. I was inspired to look at other natural process that usually is also mapped on such graphs or diagram. That natural process is earthquake process.

Figure 1.6

Figure 1.7

INSPIRATIONS The natural process that inspired me the most throughout the making of my lantern was the earthquake process happening due to active volcanic activity. Every volcano begins its eruption with earthquake. To understand how the process is, I observed the seismograph (a device to measure and record vibration within the earth) recording, which is known as seismogram (Figure 1.8.1-1.8.3).

Rough ideas about the natural process: > > > > >

climax repeating cycle damaging dangerous

Figure 1.8.1

I began to observe different earthquake’s seismogram that has ever happened. I figured out that every severe earthquake does not happen suddenly, but it always starts with little vibration which then reaches climax, but then it goes back to anti-climax again.

Figure 1.8.2

Also, a very active volcano always repeats this earthquake over and over again over long period of time, as if there was an earthquake cycle that happened below the volcano.

Additionally, most earthquake leads to damage in human civilizations, such as infrastructure and human-made landscape.

Therefore, I also picturized earthquake as a dangerous and damaging natural process.

From these ideas, I began to have a better understanding of the natural process that randomly inspired me at first.

Figure 1.8.3

ABSTRACTION At first, I did not completely understand how to achieve such abstract model deriving from natural process. Therefore, I attempted to sketch my ideas in abstract. Then, I figured out that my approach in producing abstract is similar to the Analytical Drawing, which is a teaching method of drawing by Kandinsky.

Kandinsky taught his students to not just see the external appearance of an object, but to attempt precise representation and perceive the abstract, essential form, not the insignificat features. The most significant of Kandinsky’s concept of analytical drawing is the quality of energy, movement and rhythm.

On the left are the sketches of “The Stages of Analysis” (Figure 1.9) by one of the students of Kandinsky, Hennes Beckmann (1929). Against the strict geometry of most of the forms, the sketches are created. The result shows a very interesting abstract look of the life-still model.

Figure 1.10

Figure 1.11

My approach in producing abstract sketch was similar to this method. I tried to sketch the abstract process of the earthquake of volcanic activity by drawing geometric shapes of triangles (Figure 1.10-1.12).

Figure 1.12

Figure 1.9

APPLICATION OF IDEAS Based on the rough ideas I had about the natural process (earathquake process of volcanic activity), I modified the sketches I initially produced to create a more abstract and dynamic model, so that the message can be delivered to the viewers (Figure 1.13).

Figure 1.13

The idea of cycle and repeating had inspired me to modify the sketch by bending it, then making it to look like a loop to deliver the ideas clearly about cycle and repeating (Figure 1.14).

Then, the idea of dangerous and damaging led me to apply sharp spikes to become part of my model. The spikes were utilized to deliver the idea of climax. The spikes were created to be increasing in sizes and then decreases again (Figure 1.13 and Figure 1.14).

Figure 1.14

FIRST FINAL CONCEPT

Reflection Reflection IDEATION The ideation process is a very crucial stage in design because this process will definitely influence the next stages of digitalization and fabrication. Through this ideation process, the designer’s idea is developed from rough and abstract idea to become reality, to make the viewers understand the meaning of it.

The first module has taught a lesson of how to translate an abstract idea of natural process into a real model.

The reading A Man Who Love Fluids by Phillip Ball, which talks about Leonardo da Vinci had inspired me the most.

Leonardo da Vinci did not only sketch his ideas of what he literally saw in an object. He did observe the object carefully and instead of drawing the literal look of it, he sketched the movement, the texture and every other elements that are not obviously seen (Figure 4.1-a sketch of flowing water). Moreover, the reading Analytical Drawing which was truly relevant to this module has inspired me how to translate an object into such geometrical object.

Figure 4.1

This module has opened my mind and gave me this idea that architects and designers, such as Zaha Hadid, do not just get an idea from nowhere but they do research and observe things around them such as natural processes and that is what make them great designers-learning from natural environments. Zaha Hadid had designed many buildings based on the idea of natural processes (Figure 4.2 and Figure 4.3). Ideas to create an extra-ordinary design do not just pop up in our mind. Jon McCormak, from Monash University who delivered the last lecture of the virtual environments subject stated a very important statement about design process. McCormack said that human can use evolution to produce a design and the design will automatically be improved as it is processed through evolution of ideas.

Figure 4.2

Figure 4.3

chapter 2

DIGITALIZATION

FROM ANALOG TO DIGITAL

Figure 2.3

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Figure 2.5

Figure 2.6

Figure 2.7

Figure 2.8

Figure 2.1

Figure 2.2

When translating the analog model into digital model, I had to adjust myself with the available technologyRhinoceros 5.0. I utilized the contour tracing method since it is the most suitable method to digitalize my model. Also, rather than using CrossSection option to generate the 3D surface for lofting, the horizontal circle was used since the thickness of each part of the model should follow the increasing diameter length of each circle (Figure 2.7) to relate back to the idea of the natural process (it has climax point). Then, to achieve the real size of the lantern, the digital model was scaled to be 8 times as big as the clay model. The spikes that were supposed to deliver the idea about the natural process were generated later on after the 3D surface had been created.

2D PANELING By using Rhino 5.0, it was feasible to build a 3D model using series of 2D polygonal geometry and this makes it easier to build the lantern using flat material, which particularly in this project is paper. This software also makes it possible to create and modify such complicated curvy surfaces to be covered with different types of paneling, which would not be possible by drawing sketches. However, since this lantern is supposed to deliver a message to the viewers, some paneling variations are not suitable. Furthermore, some of the variatons of paneling are not buildable with paper as the material. Therefore, in developing the paneling, the limitation of the material has to be considered; for instance, paper is limited in bending because it cannot bend into two directions. Additionally, the paper used was slightly thick and thus, the paneling should allow the light to have certain space to shine out of the lantern.

3D PANELING 3D paneling displays different visual effect from the 2D paneling. 3D panels show more sense of rigidity and stronger visual effect. In relation to the natural process-earthquake process, 3D paneling could deliver the idea of “dangerous� earthquake that I was going to deliver through the model. However, 3D paneling could spend more time in fabrication.

Moreover, at first I reckoned that 3D paneling could be not aesthetically proportional when the spikes were included. Hence, the 2D paneling was prefered.

Some modification trials were also done to see the possible outcomes that might be a better design for the lantern, such as using Control Points command to modify the original lofted surface. Nonetheless, the result was unsatisfactory because the outcome did not relate well with the idea of the natural process that was supposed to be achieved.

WHY TRIANGLES?

Figure 2.9

Paneling did not only involve the process of digitalization.

Since the lantern was supposed to be built with paper, some adjustment had to be made. Some paneling variatons that are not suitable have to be avoided. By covering the suface with diamond (Figure 2.13), it would not be possible to fabricate it with paper because paper could not be bended in two directions.

Learning from precedents that involve covering curvy surfaces with panels was very inspiring. The Helios House by Johnston Marklee (Figure 2.9-2.10) is covered with triangle paneling to cover the curvy surfaces. Likewise, the Southern Cross by Sir Nicholas Grimshaw (Figure 2.11) also utilized triangles to cover its wavy structure of the roof. Even though it looks like the roof is covered by square frame of steel, actually there are triangles inside the squares to cover the whole surface of the roof.

Figure 2.13

Therefore, in order to cover a curvy surface with rigid materials like paper, triangle paneling is the most possible way because triangles can be flattened into flat surfaces so that this makes the fabrication easire.

Figure 2.10

Figure 2.14 Figure 2.11

Figure 2.12

ELABORATION In order to exagerate the visual look and to deliver the idea of the earthquake process that has climax point, spikes that are increasing in sizes are generated by using Extrude Curve to Point Command. To deliver the idea of “damaging” earthquake, the paneling was used as the media. Some holes were only made in several triangles. This made the visual effect of “patches”, damaged area. It did not only help in delivering the idea of “damaging”, but it also generated such extraordinary lighting effect.

ORTOGRAPHIC VIEW

Front view

Back view Right-side view Left-side view

FINAL DIGITAL MODEL

Reflection Reflection

DIGITALIZATION The digitalization technology has exceeded human’s limitation in producing accurate model with manual capability. Architects today utilized the technology of software such as Rhinoceros, AutoCAD, Revit, Google Sketch and so on. Those softwares could make possible the most of the complicated and crazy ideas of the designers. In this subject particularly, Rhino had been assisting students project in many ways, from translating the analog clay model into becoming customized paneled digital model. The combination of Rhino and Grasshopper had made the printing process even easier.

Even Paul Loh, one of the members of the designer team of Times Eureka Pavilion, who delivered several lectures in Virtual Environments subject, also used Rhino in order to design the pavilion (Figure Figure 4.4 4.4). The design approach was also inspired by natural process, particularly the cellular structure of plants and the processes of plant growth and formation. The pattern was obtained from computational genetic algorithms to deliver the idea of cellular structure of plants (Figure 4.5). Indeed, it is a very advanced method, compared to the contour tracing method that was used in this subject in order to translate the analog model into the digital model. The digitalization and fabrication processes involved Rhino as the media. Each part was also unrolled to become strips and each strip was distinguised using certain digital method (Figure 4.6).

Figure 4.5

Overall, throughout the digitalization process, I realized that this stage is also an important stage to develop the appearance of the model itself to be able to communicate the idea that the designer wants to deliver to the viewers.

Figure 4.6

Figure 4.7

chapter 3 FABRICATION

MODIFICATION BEFORE FABRICATION Before the fabrication stage, modification was needed to adjust the expected shape of the lantern with the material used, which was Ivory Card. The Ivory Card was slightly thick but not thick enough to create such rigid thin frame. It was recognized that some of the holes on the lantern are too large whereas the frames are too thin (Figure 3.1). Hence, some holes that were too large, were framed with thicker frames to make the structure stronger and more rigid so that any undesirable structure failure would not happen (Figure 3.2-3.5). In addition, it was believed that this modification contributed stronger lighting effect because the light would be focused to smaller holes.

Figure 3.3

Figure 3.4

Figure 3.5 Figure 3.1

Figure 3.2

INITIAL UNROLLING AND PROTOTYPING

Figure 3.8

Unrolling this model was quite challenging at first since there are several ways of unrolling it. However, one architecture project named Zebar in Shanghai, China by 3GATTI Architecture Studio had inspired me on how to unroll this model. Zebar has an undulating cave-like form, created by apertures cut into fins along its length (FIigure 3.9), each of the boards are used to make fins. The space was subdivided into slices to transfer the design from digital into reality, and to give a real shape to each of the infinite sections of the fluid Rhino NURBS surfaces. It was recognized that the inner parat of my model has similar structure to the interior space of Zebar. This project also used Rhino to design the interior space and indeed, it faced similar challenges as I did. Therefore, I decided to unroll part this model according to the horizontal circles to create partial prototype to examine the feasibility of the structure (Figure 3.6-3.7).

Figure 3.9

However, unfortunately, when unrolling the strip altogether with the spike, they overlapped on each other (Figure 3.10). To overcome this problem, the spikes were unrolled separately.

Figure 3.6

Figure 3.7

Figure 3.10

BUILDING PARTIAL PROTOTYPE Figure 3.11

Figure 3.12

Building partial prototype was very useful to anticipate the challenges and problems that might be faced in building the full model.

After receiving the result from fablab, some errors were found. One of the errors in printing was that some lines were cut in unwanted parts (Figure 3.15.2 and Figure 3.15.3). This might be caused by errors in setting the file for fablab. By bulding partial prototype, I could firstly fix this problem before submitting the full-model file to fablab for the second time. It also helped a lot in experimenting the method in fabrication. For instance, when folding the scored lines, it was better to use steel ruler so that the result would be smooth and clean (Figure 3.12). This also allowed me to practice in assembling all the parts together in the right place (Figure 13.14).

Figure 3.16

Additionally, since I did not build any ribs or fin edges to support the structure, the tabs were used to support the “ring� structure so that the model will be shaped perfectly rounded (Figure 3.15.1).

Figure 3.17 Figure 3.15.3

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Figure 3.15.2

Figure 3.14

Figure 3.15.1

Figure 3.18

FABRICATING FULL MODEL When fabricating the full model, colour identification was used again. The “dot� command was also used to number and distinguish each strip from each other. This was very hepful in assembling the strips altogether because in after the print outs were received, all strips look so similar and hard to differentiate. However, one of the disadvantages of looking at merely 2D digital model was the inability to fully identify which strip is which. Hence, looking back at the 3D digital model in Rhino, particularly in Perspective view was needed, so that the assembling would be accurate.

Figure 3.19

COLOUR IDENTIFICATION METHOD

Figure 3.20

Figure 3.21

Figure 3.22

FABRICATION PROCESS The fabrication of the full model was began with joining the strips together with UHU glue. The UHU glue was chosen because it is a transparent glue; thus, it did not leave any dirt on the white card.

The assembling process was done while looking back at the 3D digital model in Rhino to be accurate (Figure 3.22). The assembling process was divided into 5 parts to make it easier to install the light inside the loop (Figure 3.23 and Figure 24).

Figure 3.23

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Figure 3.25 Figure 3.29

LIGHT INSTALLATION There were some considerations made before installing the light.

Firstly, the lightbulb and the wire had to be assembled in parallel circuit so that if one lightbulb was broken, the other lightbulb would still be able to turn on (Figure 3.25). Secondly, the lightbulb and the wire must not be hanging around and moving around inside the lantern so that they had to be attached closely to the inner part of the lantern (Figure 3.26). While installing the light, the 5 division parts were also joint together using glue (Figure 3.28-31). Finally the circuit was joint with the switch to let the lights turn on only in need (Figure 3.32-33).

Figure 3.26 Figure 3.32

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Figure 3.31 Figure 3.28

Figure 3.33

FULL FABRICATED MODEL

Reflection Reflection

FABRICATION

The fabrication process of the lantern involved different elements such as material and also digital technology such as printers, laser cutter and also softwares. In this subject, the material used was Ivory Card and the fabrication process had to be adjusted carefully so that the construction of the paper lantern could be successful and avoided from any structural failure. It is a very important process in order to realize the developed idea that had been translated into analog then into digital model. Fabrication is considered successful if the result could communicate the idea of the designers.

In professional practices, the experts use different technology to produce prototypes and to construct the structure. The experts usually use 3D printing (Figure 4.10) and rapid prototyping to build prototypes of their real structure. The Beijing Olympic Water Cube project also used rapid prototyping (Figure 4.9) to present their model to the judges and also to examine any failures that could be fixed before the real construction. One example of the digital fabrication in architecture using industrial robots, done by Swiss architects Gramazio & Kohler. They used robots to stack more than seven thousand bricks aggregate to form an infinite loop (Figure 4.8). The accuracy, strength and speed of these robots allow them to fabricate architectural forms of unprecedented complexity and intricacy.

Figure 4.10 Figure 4.9

Figure 4.8

Reflection Reflection VIRTUAL ENVIRONMENTS Throughout this semester in this subject, I start to understand how the experts and designers use advanced method and technoogy to create such organic shape of structure. From the beginning of the process, which was the ideation process, I larned how the architects develop their ideas from the natural environments and the natural process to produce such interesting and brilliant shape of buildings. It is very useful for the modern architects to uderstand such things because the modern buildings nowadays do not copy the original shape of the nature like the architects in the past. They applied particular style such as Art Nouveau, which involves literal copy of the nature, into their design.

The modern architects are not attached to any particular style. They do not apply literal translation of ideas into their design. Furthermore, the digitalization process had helped me in developing my skill in using digital software to create a design and how to utilize the digital media to communicate the idea, particularly in this project is the idea of the natural process. The fabrication process had taught me to be very precise in assembling each part of the model because when one part was placed at the wrong place, the overall result would be affected and the result would be unsatisfactory. On the whole, this subject has been very exciting and challenging since it does not only develop my designing skill but it also allows me to learn about how the designers achieve their extra-ordinary design. “Architecture is a visual art, and the buildings speak for themselves�-Julia Morgan