Module 4

Module 4 Reflection

Ting Yu Lin 615497 Semester: 1/2013 Group: 8

Module 4 Reflection

IDEATION

IDEATION - NATURAL PATTERN STARFISH

This sketch of the pattern makes me realize that tube feet are not in the seemingly round shape, they are actually more rectangular because there are obvious angles in them. Also, I found that the pattern can be divided into five corners where the boarder is the gap between each arm of the starfish.

This is a picture looking from the bottom of a starfish, there is a geometric form of the picture that there are many small tube feet on the starfish’s arms. Tube feet can attach to surfaces and are used to pass food to the mouth at the center, so it is important that they are arranged in the same distance from the center. The reason why I’m interested in the starfish is that behind the beautiful pattern, there are certain rules

RECIPE

RECIPE

1.Trace the connected row of tube feet that is closest to the center.

2.Trace the second row and the third row.

3.Repeat above steps in five corners.

SYMMETRY

This is the whole shape of a starfish, there is a strong sense of symmetry as it can be divided into same angles.

MOVEMENT

There is a movement that the five corners moving towards the center of the pattern.

BALANCE

There is a balance emerges from the spiral shape in the analytical drawing.

1.Find the tube feet in one corner that is closest to the center.

2.Find the tube feet that is second closest to the center on the left side of the first corner.

3.Find the tube feet that is third closest to the center on the left side of the second corner.

4.Repeat the steps above in all five corners.

IDEATION - REFLECTION Tooling & Analytical drawing

In the analytical drawing reading this week, it defines the purposes and the importance of understanding and making an analytical drawing.

The aim of learning how to create an analytical drawing is to educate us to observe beyond the appearance of objects and appreciate the rule of the underlying structural elements of them. There are three stages to make an analytical drawing, the first stage is to perceive the overall structure of the still life and understand what is the relationship of single items in a grouped objects interact with one another, and draw the outline of the whole still life with clear, simplified but precise approach. The second stage is called “development of the structure network”, which is completed by finding the network point and link it with straight lines representing the gravity forces on the items (tensions) in the structure in different thickness or colors. The third stage is called “translation”, which extremely emphasizes on the lines of tensions and the interconnection with different lines. This points out the importance of the physical rules behind the structure and to the most extent, simplify the tension lines, and then translate them into abstract patterns.

Pattern formation in nature

In the reading, Ball is giving the explanation of the formation of the pattern in natural world, which involves everything, the pattern on animals, the structure of plants, the shape of bacteria, and even the sound wave has its special tack. Some of them can be observed in a mathematic way and can be analyze into regular rules. There are three important points in the reading: chemical patterns, granular patterns and patterns as computation. Firstly, the oscillating chemical reaction is the substantial change of the chemical, which makes it change in color, move to different directions and no longer stay in the stable state. Secondly, the granular pattern, take sand as example, it forms when there is a bump of a surface, and it will gather more and more sands around it. Lastly, I think this part is to get the systematic information in the natural elements. In this way, we can explain the patterns rational and reasonable rather than grasping an abstract idea that is hard to understand. Finding the rules behind the patterns is making the naturally processed elements simple and thus we can use the found rules to apply on our daily life, such as buildings, design and many other uses.

IDEATION - DESIGN DEVELOPMENT PAPER MODEL

Firstly, I follow the outline of the pattern, which is formed by a series of tube feet in a curve line, I made small cylinders ranging from small to slightly bigger as approaching the turning angle. I extruded the cylinder higher as the diameter gets longer. After this, I gave bigger tube feet inside the curve higher extrusion. In the second model I twisted the flat paper strip into a round shape with sharp angle, rotated the cylinders

CLAY MODEL

This is a lantern interacting with hands, i want to make a latern that can be held by hand whether it is held up staight or it drops down.

This model is made up of five raindrop shape parts dropping down, and the bottom of it is split out.

While scaling the sizes of raindrops from small to big, following the displayed symmetry lines.

This can be grabbed by hands.

This model keep developing the idea of the previous model, i flattened the tear drops and it looks like flower petals and it’s empty inside.

This can be hold by both hands.

This is the closed version of the petal one, i made it solid inside so there will have spaces to put the light.

This can be grabbed by hand.

IDEATION - LIGHT EFFECT Calabarte Art of Light

This creates a very beatiful pattern on the wall, and it is simply a sphere. Although the shape itself is simple, it needs to make the pattern very different when shining. The thickness of the material is very important in controling the light and darkness and it makes the shadow looks like the arms of starfish projcting on the wall.

This lamp can be used in my movement analytical drawing.

The arrows are pointing to one directions and the lighting effect looks like the emergence of the movement.

The lamp shares a similar pattern with my balance analytical drawing, it shows the spiral structure. I want my lantern to have a light effect like this one, which has the curve shadow and a vitality feeling of the lantern. Since my concept is starfish, i want to create a effect that the starfish is alive,

DESIGN

DESIGN - DIGITIZATION CONTOUR METHOD

In the contouring clay model part, I used the section method to digitize since I consider the shape of my clay model is a solid, round shaped object, so this might be the best way. I sliced the clay model into 1 cm pieces and displayed them piece by piece in order catch the contour of each slice. I worried the slices aren’t detailed enough to show the shape of the clay model so I added extra contour drawings between slices. After this, I pile the curves up and extruded, however, it didn’t meet the effect I expect.

DESIGN - DIGITIZATION DEVELOPMENT

After the failure, I changed to another way of making it. This time, I made the raindrop part individually and then use Boolean to assemble them together, however, there was another problem when I did the Boolean, the surfaces just didn’t join. So I adjust it in to another shape of model.

In the progress of developing my model, I found this is the model I want, it relates to my pattern in many ways. Firstly, look from the perspective view.

I made the model a combination of circles on my pattern and the recipe I drew. I extrude center point in the recipe to create a sharp point, and the other side is a round bottom.

Looking from the top view, it is how the symmetry displayed in the model. I made the single model from previous step into three same pieces, and use Boolean to assemble them together.

The bottom view of my digital model, this shows the symmetry lines and the V shape corner.

The way to hold the model is by putting fingers into the space at the top.

DESIGN - PRECEDENT STUDY Paris, Le Louvre Pyramid

The pyramid is composed of three big triangles on three sides, and there are many little dimond shapes on each side of the big triangles. This pyramid is beatifully constructed, i want my lantern to have effects like this, so i decided to have 3D pyramid panels on my lantern, but the base will be dimond rather than triangle.

Swiss re Tower

The overall shape of the building is similar to my model which are both in curvy and twisted shapes, i can use the dimond shape paneling tool to design my model.

Aoyama, Tokyo

The surfaces of the dimond shapes are extruded, i can use this as an example of how my lantern will look like.

DESIGN - PANELING TOOL 2D PANELING

In the 2D model, I used three different panels to create different effects and test out the various forms of my model.

From left to right, I tried the box, wave and triangular effect, and these effects show different forms of how the model can potentially be. Also, it is a good way to know what I can put on my 3D model to create different surfaces.

The upper row is the closed space model, the lower row is open space model, using offset boarder surface to create the hole inside the panel and let the light come out.

3D PANELING

I used pyramid2 of paneling tool to make my 3D model, this is related to my recipe where the triangles are drawn. I counted the number of grids on my model carefully, so if you look from the bottom, it would a starfish shape.

This model interacts with hands, using fingers to grab the tapered part, and there are spaces where you can easily put fingers inside to hold it. In order to be able to carry the weight of the whole model, I strengthen the sharp part by not hollowing the panel, and it would become easier to hold too because there would not be so many holes.

DESIGN - FINAL DESIGN SHAPE

The final design of the model has gone through a lot of changes since I kept thinking how I can put my analytical drawing into the design and It turned out to be one teardrop rather than three. This significant change results from two reasons: 1. There is a big problem in the intersection of the three drops, the 3D panels in that part are all tangled up. 2. I worry that the top can’t afford the weight of the model because it’s 70x40cm, which is too big to holds by fingers. The final model now looks simple but with a strong linking back to the balance analytical drawing, I extruded up the center point of the balance drawing, and put down the curves and connect the curves, it will be in the shape of twisted teardrop.

PANELS

I used diamond in 2D paneling, the inspiration comes from the shape of tube feet.There are big diamond pyramids and small triangular pyramids in 3D paneling design, the big pyramids represents the bigger size of tube feet, and the small pyramids are the small size ones. The arrangement of the panels are from the movement drawing, there are five moving traces, the diamond pyramids follow the traces, so if looking from the bottom view, there are five rows of them, and this also makes a star shape. Between the diamonds, there are little pyramids squeezed together, this can be seen in the lines that separate corners.

DESIGN - REFLECTION Lost in Parameter Space

In module 2, I was completely overwhelmed by the process we have to go through after I read the work from previous students. At first, I didn’t know how to start doing my digital model since it is in a shape that is so difficult for me to make. Fortunately, I go to rhino session every week to ask for help, and I spent a lot of time adjusting my idea and models. It is really a project that requires a big amount of processing the computer software to make digital models as well as the integration of ideas. Although it is a difficult task to make your ideas into digital model, it is comparatively a better method to just make it directly on materials. Since we can use computers to make varieties of one thing to explore the possibilities, and there are spaces for mistakes and adjustments, it is a very convenient way of designing. I think that rhino is a software that is difficult to get started, because if you are not familiar with all the options you can use, there would be a lot of confusion.

In conclusion, I’m happy to have the software to help us instead of having to do everything on our own. It benefits not only in developing my ideas but also the effects I want to achieve. I want to see how far can the design of my lantern go and I would like to use rhino more to make my creation come true.

TED video by Thomas Heatherwick

In this video, he showed some of the projects from his studio and explained their design concepts and how they are made into the final look. The projects of his studios are all fascinating because it not only considers the pretty appearance and effects, but also useful and comfortable when using them. After watching the video, I think a good design needs to include both aesthetics and functions, it is really an inspiring studio.

FABRICATION

FABRICATION - PROTOTYPE

In this prototype, I put a combination of 2D and 3D panels to see the effects. In 2D paneling, there are closed surfaces on one side of the prototype, this is to see how the effects would be like if the light just shine on the paper. In 3D paneling, I designed two different panels to test the structure and the effect. There are square based pyramids with open surfaces opening downwards, and triangular pyramids at the bottom of the prototype. I used offset face border at the bottom part to make different effects.

In this photo, I shined the light to the direction of the 2D panels, and what projected on the wall was shadow and the outline of the prototype. This is not the effect that I was expecting because I thought there would be a level of transparency, but the light is all blocked by the paper. Although this did not create a surprising effect, I still think this is important in the whole structure of the lantern because there is clear emphasis on the outline of the prototype.

In the 3D paneling part, there is an amazing lighting effect. Look at the row of opening surfaces downwards, the light coming out of it is a row of clear triangles. At the bottom part, a beautiful geometric projection can be seen.

I learned a lot from the prototype as it is a practice of how to make my final lantern, after going through the paneling tool designing, unrolling, using grasshopper, assembling and the lighting effect, I know more about what I want to achieve in the final lantern.

FABRICATION - UNROLL

FABRICATION - PRINT FILE

Arcitecture in the Digital Age by Branko Kolarevic

In this reading, it talks about the digital age nowadays has greatly changed the way people put their concept and ideas into physical products.

Thanks to the advanced technology, architects and designers are able to use digital methods to put the projects into three-dimensional models and get to produce the projects in precise fabrication and assembly. According to this, software are important in designing and manufacturing the structure of products and it is much easier to make changes on computers rather than so it by hand. The key point of this is how to make your design from physical to digital. The inverse point of this is, from digital to physical. This part needs the help with machines that run through the fabrication process, which is based on cutting, through the computer, it controls the cutter and is able to cut complex curves and surfaces precisely.

This is a vital in mass production which needs a huge amount of products in same quality and design, it not only saves money in hiring labors and the process time, but also dramatically decreases the fault rate when doing it manually.

FABRICATION - MAKING PROCESS

Materials: pencil, scissors, pen knife, UHU glue, clips, cotton bud, ivory card, tracing paper.

In this row of photos is the making process of my final lantern. I started to assemble the lantern from the sharp end since the 2D panels are easier to make. There are many pyramids squeezed together between the diamond pyramids, which is the most difficult part in the whole making process. First, fold the score line is challenging because the triangles are really small and detailed, I must know clearly which direction they’re facing. Second, glue the little pyramids together into one piece, this part is easier if I fold the lines correctly because they will form pyramid shapes. Third, glue the pieces into one layer. This part is very easy to go wrong since the order and shapes must fit in between pieces to link successfully, and this part affects the accuracy of the following layers, which decides the whole look of the lantern.

Problems: 1.There are many holes in the connecting part of the pieces and layers.

2.The model is not strong enough, it can be easily squeeze when holding it.

3.Can’t put the circuit in because the lantern is sealed and only the last layer is left.

Solution: Redoing model 1.I found that the problems in the connecting part are because of the thickness of the ivory card. So after I fold the lines, I pressed them again with ruler to make them flat and neat. This time, the holes became much smaller and can be fixed by applying glue.

2.The card I bought at first was not ivory card because it was sold out, after I used ivory card, it is thicker and stronger, and the above solution also helped.

3.This time I started assembling from the 3D paneling part and used tracing paper to cover the last layer so can’t see the circuit from outside.

FABRICATION - LIGHTINGS Circuit

I made paralleled light circuit with a series of battery, this would make the battery stronger and the lights brighter.

Materials: switch, three 12V battery, three 12V strip LED. Problems: once the wires being moved, they are very likely to be disconnected and the lights will not light up.

Solutions: carefully attach the wires and tie the connecting part with tapes.

I made the LED facing three directions since I have a round shape lantern, I stick cards in the same distance between LEDs. I made supports to suspend the light inside the lantern, I used three strips of card to stick the LED onto the wall, so the light will be stable. I hide the circuit in the cone, which will be held by my hands so don’t have to worry about the weight of it.

The lighting on the left has clear lighting effects in mostly triangular shapes and some diamond shapes which I like it a lot. The light shines in one direction, so it’s bright.

However, I want to make the light to shine at 360 degrees, and make the effect to look like my lantern is under the sea, so I find the picture of the sea and the waves on it when wind blows. This is why I chose the strip LED, there are three lights on each strip, which creates overlapping projections, and it looks a lot like the sea surface.

Although the light is weaker, it achieves the effect I want.

FABRICATION - FINAL MODEL

The inspiration of how to hold the model is from the speech bubbles, I think if I hold the model like my speech bubble, it is a way of conveying my thoughts and ideas through the lantern.

People can see and understand my design without my talking because the lantern shows my efforts directly.

REFLECTION

REFLECTION

In the week 10 lecture, the important concept is from virtual to reality and it can be related to the readings. “Building In The Future” discuss about the challenging change that the conventional craft is being shifted through the development of technology, the relationship of making and craft has been changed to focus on information and communication rather than using traditional tools. The definition of craft has been broadened. “The Third World Industrial Revolution” talks about the power of making, which the software brought up the making movement and directed it into digital revolution, and the technological advancement then led to automation and mass customization.

In this semester, I have changed the way of how I see the world through analyzing my natural pattern and looking at others’ analysis, it is an overwhelming experience that overturns my perspective in perceiving the world, people transformed their patterns into many variations, and this tells me that limitations don’t exist in imagination and creation. The part that turning physical models into virtual is a time consuming process since rhino is a software that needs time to learn how it works to achieve my desired outcome. I’m glad that I put my time into mastering rhino just seeing my beautiful design on the computer. I consider the most challenging part is the fabrication as in the complicated unrolling process and the assembly. These requires a high level of concentration and precision, and once there is a slight mistake, it affects the whole lantern. In the final stage of virtual environment, after reviewing the modules before, I got a conclusion, it is all about communicating my ideas. Paul asked a question about what is design in the last lecture, in my opinion, design is a process of gathering thoughts, integrating ideas and a process of solving problems. Studying virtual opens up my new vision in all the components in my surroundings, and honestly, virtual has made some of the most unforgettable memories in my life: the endless sleepless nights, friends that cheer each other up, the efforts I put in my design and the most important of all, I discovered my great potential and upgraded myself to a new level that I’m able to deal with all the problems I met in making the lantern. After seeing my finished lantern, I knew all my efforts are repayed.

REFERENCE BIBLIOGRAPHY Architecture in the Digital Age - Design and Manufacturing/Branko Kolarevic. Spon Press. London. c2003 Ball, Philip (2012): Pattern Formation in Nature, AD: Architectural Design, Wiley, 82 (2), March, pp. 22-27 Building the Future: Recasting Labor in Architecture/ Philip Bernstein. Peggy Deamer. Princeton Architecture Press. c2008. pp 38-42 Poling, Clark (1987): Analytical Drawing In Kandisky’s Teaching at the Bauhaus Rizzoli, New York, pp. 107-122 The third Industrial Revolution/ Jeremy Rifkin. Palgrave Macmillan, c 2011. pp 107-126 Tooling / Aranda, Lasch. New York : Princeton Architectural Press, 2006 Scheurer, F. and Stehling, H. (2011): Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 (4), July, pp. 70-79 http://depositphotos.com/6957378/stock-illustration-Speech-Bubbles.html http://israilblogu.com/2012/07/03/fransadaki-louvre-muzesi-israil-teknolojisini-kullanacak/ http://woman.brigitte.de/reise-genuss/europa-welt/wolkenkratzer-1048563/3.html http://www.calabarte.com/#prettyPhoto http://www.house42.com/2011/02/05/prada-boutique-aoyama-tokyo/