VIRTUAL ENVIRONMENTS 2013 Tara Shokouhi Student No. 635693 Module 4 Journal
Semester: 1/2013
Group: 6
Table Of Contents Module 1 - IDEATION Chosen Pattern ............................................. Page 3 Analytical Drawings ...................................... Page 4 Paper Models .................................................. Page 6
Module 2 - DESIGN Design Ideas and Process ............................... Page 7 From Models to Rhino ................................... Page 8 Changes and Final Design ............................. Page 9 Lighting Inspiration ........................................ Page 10
Module 3 - FABRICATION
Prototype 1 ....................................................... Page 11 Prototype 1 - Problems ................................... Page 12 Prototype 1 - Lighting Tests ........................... Page 13 Using Custom Panelling Tools ...................... Page 14 Using Custom Paneling - Test 1 .................... Page 15 Prototype 2 ....................................................... Page 16 Prototype 2 (Continued) ................................ Page 17 Final Lantern Model on Rhino .................... Page18 Fabrication Process of Final - Steps .............. Page 19 Fabrication Process of Final Lighting Tests and Last Minute Changes ... Page 20
Module 4 - REFLECTION Final Lantern & Reflection .......................... Page 21
Bibliography .......................................... Page 23
2.
Chosen Pattern
Upon first hearing about the theme of natural patterns for this assessment, I instantly thought of the Great Barrier Reef. Its beauty is something that I am constantly in awe of. The vast array of colours, shapes and textures of the plants and animals give it a particular sense of uniqueness, in the same way that the light from lanterns create single and unique shadows and lights around a particular room. I began with the image to the right, turned it into black and white, and zoomed in on a particular section of the image as opposed to the entire image as a whole.
3.
Balance
Recipes: 1. Start by dotting the centre of each shape 2. Draw a line between each surrounding shape, thus creating numerous triangles
Analytical Drawings
Symmetry
Movement
Layering of “Balance” and “Movement” 1. Start by finding the centre of the entire image 2. Find the corners between the shapes 3. Draw a straight line from the centre to each corner
1. Start with a centre point 2. Plot the corners between each shape 3. Create a curve through the points, that is then repeated a second and third time.
Analytical drawings were discussed in the first lecture; the stages, techniques, and its importance in the designing process, that would come to assist in the understanding of analytical drawings, when used in conjuction with the reading for the week; Kandinsky’s teaching at the Bauhaus [Poling, Clark (1987)] and Tooling [Aranda & Lasch (2006)]. Establishing a three-staged approach to analytical drawing, Kandinsky created a formula assisting in understanding the relationships between forms. Upon working on my own analytical pieces, I followed Kandinsky’s threestaged approach, thus resulting in my final analytical pieces. While I did encounter some difficulties along the way, by simply refering back to Kandinsky’s method, I was able to fix my mistakes and continue. After seeing the effect of the layering in the lecture, I decided to experiment my analytical drawings further, by layering my “Balance” and “Movement” drawings, drawing points on the and edges, and also using the cracking effect to create this new analytical drawing. From here, I redid it, cleaner and more detailed, creating the drawing on the following page.
4.
Recipe:
1. Dot the centre and edges of the three cental corals 2. Draw a line from the centre of each coral to the edge 3. Draw a line between each edge point, to form triangles 4. Follow the cracking recipe for each triangle: a) Find the centre of the triangle b) Draw lines to the corners, to form more triangles c) Keep repeating step 4. (cracking process), Until there is no more room 5. Find the centre of the surrounding corals 6. Draw a line and do more cracking 7. Draw a line from each edge to create a single shape.
Final Analytical Drawing
5.
Paper Models
Model 3.
During the second tutorial, we began to extrude sections of our analytical drawings, and develop models. We then developed these further by scaling and rotating them to create more models. Following the paper models, we developed plasticine models of possible lantern ideas.
Model 1. I began playing around with triangles predominantly, due to the recurring triangle patterns in my drawing, in order to see what size I liked the best, and which size I thought would work with the model itself.
For this model, I began to resize model 2. and instead of placing them all next to each other, I played it around and began to create almost the beginnings of a triangle ball.
Model 2.
From model 1. I took two triangles and began to glue them together, following my balance analytical pattern. From here I then proceeded to create the entire analytical drawing to the best of my ability, however varying sizes .
6.
Design Idea & Process
While experimenting in the second tutorial with possible lantern ideas, I found that I liked this idea the best (photo - top left). From there, I began to play around with different forms of spiraling. First, I thought to have a centre piece in my hand, and then a spiral around my hand, out from the piece. From there, my idea transitioned to it being without a centre piece, merely spiralling across my arm a number of times. When I realised that I wouldn’t be able to spiral it around that many times, I cut it down to one spiral. It was from there, that I began to play around with the ‘S’ shape and formed my final design.
7.
From Models to Rhino
The way I created my design, was by first tracing the photo of the plasticine model I had made on Rhino. From there, I used “pipe� to create the surface in image a). I then copied and pasted the pipe three times, rotating each new one and linking them with their centres. I soon found out that It was easiest to use panelling tools on the single surface (a), then use the same method to create my final lantern design. I didn’t use any of the contouring methods intensely as my design was simple and easier done without it. From here, I thought about the fabrication process of my lantern. I felt that this design was too simple and needed to become a bit more abstract. Also, I thought that logically, the gaps between sections would cause the lantern to crumble. I decided to change the model to have fully joined sides.
a)
8.
Changes and Final Design
I realised that if the top end section of one was heavy, it would bend over, and not sit up properly. Thus, I came up with a developed design. However, While experimenting with this, and the plasticine models of it that I had created, I began to cut and move pieces around, coming up with a new and final design, all the while, experimenting with various paneling tools on my changing models. I got rid of two of the “arms�, and removed about 1/4 of the remaining arms. From there I was hit with a sudden struck of inspiration and created the final base lantern structure.
Front
Side
Above is the final base model that I will be creating.
9.
Lighting Inspiration Moroccan Lights
Skimming through my lecture notes from past weeks, I was inspired, and thus decided to search up shadows made by lights or buildings in different cultures. It was doing this that I stumbled across Moroccon Lights. The effects created all around the room are dependant on the fragile and intricate patrterns in the lights (as seen per these images). I found that this was the sort of effect I wanted to create with my lantern, however, as opposed to creating circles (as seen in the photo on the top right), and floral patterns (bottom right image), I wanted to create triangular patters, thus making the lighting effects more suited to my lantern.
10.
Prototype 1
While I worked on the final base shape of my lantern, I experimented with the paneling tools on rhino and began to create some prototypes off the previous digital models I had created ,so as not to waste any time. From my digital model, I chose a single section, started by ungrouping the whole section, then grouping single strips together, and splitting them into different layers, using different colours to distinguish between them. From there, I used the “unroll faces” in the “Paneling Tools” section. I did find that while I worked my way around the section, the back section that became smaller, also had many overlapping sections when they were unrolled. I did try to fix this however, I still came across some problems when creating the prototype (refer to “Prototype 1 Problems - unrolling mistakes” for further explanation). From the model, I transformed the unrolled strips, using “scale 2D” by a factor of 3; however I found this to be too large, and once again scaled it, down this time, by .6 . I found this size to be a much better size for me.
11.
Prototype 1 Problems Problem One: Tabs While unrolling the model on Rhino, I used Grasshopper to create the tabs as opposed to doing them manually. Due to the intricate size of the model, I found that the tabs were just as intricate, reaching a width of 0.2 cms. This made it extremely difficult to not only cut the tabs out of the cardboard (since I left them to be etched in the card cutter), and even harder to glue the strips together. By extension, the model itself didn’t have a clean cut finish, as the tabs had to be drenched in PVA glue and held together with my hands for a while, which would spread the glue across the rest of the model. The SOLUTION for this problem is more than simple; to make the tabs larger (and if need be, to do so manually).
Problem Two: unrolling mistakes Working my way around the model, the back section would decrease in size as it bent towards the centre point of the model, and this created somewhat of a problem when it came to the process of unrolling the strips. They would often curve around, overlapping at the ends. Upon printing the unrolled strips on the card cutter, It became a problem, to the point where I had to ignore one of the overlaps and only use the other, thus creating a hole in the model. The SOLUTION for this, is to digitally fix the overlap on rhino before printing. I will separate the overlaping sections and print them separately, adding them into the model afterwards.
12.
Prototype 1 Lighting Tests After creating the prototype, I began to experiment with the shadows, using the LED lights purchased from the fablab. I found that the effects created were exactly what I wanted, in that they were similar to the style of shadows and lighting created by Moroccon Lights. I also found that the distance between the light and the lantern skin altered the size of the shadows created.
13.
Using Custom Paneling Tools Revisiting my analytical drawing, I found a repetitive pattern. I decided to hone in on one single section and experiment with paneling for that area. After a few mistakes with paneling (as per “custom Paneling Test 1�) I realised that The panels had to have a square base, in order to grid properly over my model. I trialed with different heights, and different sections of the chosen area of my analytical drawing. Once I had about four different types of panels, I alternated between them on my models.
14.
Custom Paneling Test 1 I created four different types of panelings, working and alternting with height on each section of the model. I tested with different points as well, (10 in the u direction and 10 in the v) however, This resulted in a lot of surfaces, and made it really difficult to unroll with so many faces. It made it extremely hard to play with the offset face boarders as well, as the large amount of surfaces would prolong the time it took to create offset face boarders on each face. Alas, these are interesting panels, but too difficult to create physically. Extending from these panels, I decreased the number of surfaces by cutting out the extra sides and reducing it to only 6 faces instead of 12. This will make give the same effect but to a lesser complexity (see right).
15.
Prototype 2
Using the previous model, I began to make a prototype, in order to both see what worked, and what didn’t, and also to see whether I liked the turnout. I came across some complications wile making this, that further affirmed my thought that the final design was better.I found that the lantern wouldn’t curve around the way that it was supposed to, like what was done on rhino. I also found the dimensions to be too small.
16.
Prototype 2 (Continued)
All in all, I liked the basic Idea, however, because I was merely not completing the actual model that I had printed, as a test, It looked unfinished. If I work on the model on rhino properly, It should turn out neater and more crisp and finished. I would like it to fall down more, not just stick out. I also find myself wanting to get rid of the third arm. I feel as though the three arms look too common. it’s not unusual and abstract. Thus, While working on the actual model. I will create 2 arms, of different levels. In experimenting with the lighting of the prototype, I found it to be different to what I expected but similar to what I wanted. I light the way the light looks blue in some parts, it’s a nice contrast to the white on the other sides
17.
Final Lantern Model on Rhino
After all the exploration, testing and changes, I decided to set on this model. While playing around with various prototyping, I found that due to the glue, the pieces were never actually round and curved, like they were on rhino. This would mean that the previous circular design I had, would most likely not work out as neatly when created physically. Thus, that was another reason why this direction proved to be better. In terms of the HAND CONTEXT, I will be holding the lantern on the curve ends.
18.
Fabrication Process of Final Putting it together
The first part of my fabrication process, I unrolled my model, scaled it by 6 then again by .3. From there, I made sure to label each section. After sending my file to the card cutter to be printed, and receiving it once again, I started by cutting out the sections, labelling the back of them, just in case I became confused about the pieces. Each section was broken up into 4 parts, and each part was divided into 10 strips. I would cut, fold and glue the first part, before continuing to the second. I slowly began to work my way up the model, starting from the bottom, and working up to the curved handle part. I found this method to be quite logical, as opposed to the method in which I worked through my prototypes; that was to cut every single piece out first, then fold each of those pieces, then glue the section together, before putting all the pieces together - That was more time consuming and this way, I was able to fix each problem as I came to it.
19.
Fabrication Process of Final
Lighting Tests and Last Minute Change
The images here demonstrate the fabrication process of the first arm, as well as some quick lighting tests. I found this difficult at times, as some sections were rather small and I had to somehow fit my arm inside, to glue it all together. I am very happy with the way it turned out and the lighting effects as well. As for the second arm, This went well, until I reached the last section, where the lantern curves. Upon finishing this section, it ripped. I then redid that whole section again, however the same thing happened. Thus, my solution to the problem was to change the lantern around a little, and join the finished first arm to the unfinished second arm, and I found that this worked out very well.
20.
Final Photographs & Reflection
The design brief called for a portable paper lantern, only interfacing with the hand and arms, inspired by a pattern found in nature. Originally I found this concept to be rather strange and limiting, as I was still unsure as to what was required of us, and what we were supposed to be achieving. It slowly became a little more obvious to me, after the first lecture, that our lanterns were based on the analytical drawings we did of the patterns. In this lecture, we also looked at the correlation between pattern formation and art, patterns as rules, and representations. That same week, we had two readings to complete; “Tooling” and “Analytical Drawing in Kandisky’s Teaching at the Bauhuas Rizzoli” I found these readings to be rather confusing at first read, however, after discussions with fellow classmates and the first tutorial, I began to understand what was needed. I found module one to be, perhaps, the most difficult, as I was confused to the subject requirements and how to neatly set out my journals. As we entered module 2 and through various discussions with my tutor I understood exactly what was needing to be done, and instead, found difficulties in the forming and creating of my model, as did most others. I would constantly find problems with the models I was designing, whether they would work completely, if It would be easy or difficult to in fact, fabricate them, however, it wasn’t until we reached the actual fabrication process that these problems became more distinctive and known to me. During the second module, we also had a guest speaker in one of the lectures, Dr. Alex Selenitsch, who explored composition, form and matters. While composition is a “difficult process to put into words” (Dr. Selenitsch), due to its speedy and complex thought process, Dr. Selenitsch suggested that there were 3 ways to describe ‘composition’: 1.How you thought of it - inspiration 2. Describing it intensely and accurately 3. What does the composition mean?
21.
Alongside this lecture, we had the reading of “Lost in Paramter Space”, that explored the difference between abstraction and reduction. Through lining this to the readings undertaken in module one, similarities in the way kandinsky endeavoured to create more abstract pieces (thereby using abstraction), to get to the core of the structure while Polling focused predominantly on evolving individual patterns, can be seen. As well as the reading, we were introduced, through TED Talks, to architect, Thomas Heatherwick, and his projects. Heatherwick ensures that his buildings are more compact, as he endeavors to bring in the surrounds of the setting into the project, and not to destroy them. Pieces are inspired by their surrounding landscape, much like the case of our lanterns, which we intend to use the lantern to effect the surroundings as opposed to the other way. Looking at his project “The seed Cathedral”, where “From every surface protrude silvery hairs, consisting of 60,000 identical rods of clear acrylic, 7.5 meters long, which extend through the walls of the box and lift it into the air By day, the pavilion’s interior is lit by the sunlight that comes in along the length of each rod and lights up the seed ends. By night, light sources inside each rod illuminate not only the seed ends inside the structure, but the tips of the hairs outside it, covering the pavilion in tiny points of light that dance and tingle in the breeze.” [http://www.heatherwick.com/uk-pavilion/] In this project, it is primarily about the effects create, Much like our lanterns, in which we’re focused on the overall effect of the shadows created on the room. By this point, I had come to the conclusion that the readings and lectures often assisted in the process of constructing our lanterns. Such as in the readings, for the third module, as we analysed the various digital fabrication processes, and also the recent shift in the use of digital technology from design to fabrication. However, while I found these to be interesting and useful, I was still, at times, having difficulties with my lantern. By module 3- Fabrication - I was having problems unrolling some of my sections. I attempted to use the “unroll developable srf” in “surface”, as well as the “unroll faces” in “paneling tools”, however both presented problems, and didn’t work the way they had when I was unrolling my first prototype. At first, my solution was to re-create the entire lantern on rhino, drawing specific attention to the small details, ensuring that there were no extra ‘curves’ or un-needed ‘surface’s. However, when it came to unrolling it once again, I had the same problem. So, in order to fix this problem, I asked my tutor for assistance and found that the reason the strips were not unrolling properly, was because the panels were not meshes and the panels on the model had curved. To fix this problem, to get them to unroll properly, I had to return back to the model base, and the original custom panel. From there I turned the custom panel into a mesh, then put it back onto my design. From there, I used “MeshtoNURBS” to get it back to the NURBS format. I then used “Offset border” to create the borders. This helped with my unrolling problem, so I was able to continue with creating my model. After working through various problems and finding solutions, the biggest problem was perhaps the one I encountered last. After the module 3 presentations, I redid my entire lantern. By the time I had received my unrolled pieces back from the card cutter, I had a total of 5 days to complete the entire lantern. This meant that I was staying up all night, fixing little problems here and there, but the biggest one occured at about 4 am on Friday morning, the day of the parade. The last curved part of the second arm, after being joined and completed, ripped off when I was holding the two together to take photos. Due to the small folds and sizes of the section, it was difficult to work on that piece again, So I reprinted those unrolled pieces on my own computer, and using my two extra card cutter papers (that I had at home for emergencies), I traced and cut out that whole section, putting it all together again. I had finished by 1 pm, and again, I was faced with the same problem. It was at that moment that it occurred to me, that the section itself wasn’t going to work, so after some pondering, I realised that the end of the first arm, and the second arm, were the same size, so I joined the two together, and came to really like the final result. Overall, I found the subject of Virtual Environments to be both very interesting and useful for my future studies, as I intend to major in Architecture. The original few weeks were difficult, as I aimed to understand everything and on top of that, I had to learn how to use Rhino, and this proved very hard. However, now, looking back, the weekly Rhino tech sessions and the constant aid of my tutor Samson Tiew, helped me in developing my design and understanding the subject.
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Bibliography Aranda, Lasch 2006, Tooling, Princeton Architectural Press, New York. Ball, P 2012, Pattern Formation in Nature, AD: Architectural Design, Wiley, 82(2), March, pp. 22-27. Bernstein, P, Deamer, P 2008, “Imagining Risk”, Building the Future: Recasting Labor in Architecture, Princeton Architectural Press, New York, pp. 38-42 Iwamoto, L 2009, Digital Fabrications: Architectural and Material Techniques, Princeton Architectural Press, New York. Kolarevic, B 2003, Architecture in the Digital Age - Design and Manufacturing, Spon Press, London, pp. 29-54. Poling, Clark (1987): Analytical Drawing In Kandisky’s Teaching at the Bauhaus Rizzoli, New York, pp. 107-122 Rifkin, J 2011, The Third Industrial Revolution, Palgrave Macmillan, pp. 107-126. Scheurer, F, Stehling, H 2011, Lost in Parameter Space? , AD: Architectural Design, Wiley, 81 (4), July, pp. 70-79 TED Talks 2011, Thomas Heatherwick: Building the Seed Cathedral, online video, viewed 1 April 2013 <http://www.ted.com/talks/thomas_heatherwick.html>.
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