M4 – REFLECTION
Wan Zhang Student No: 581921 Semester: 1/2013 Group 6
M1-IDEATION: THE STARTING POINT
the main theme in the reading is that we should pick out a simple overall form, as the image which we choose can be represented of horizontal, vertical and curved elements. The pattern I choose is peacock feather and the image shows the main feature and form of peacock feather.
Also we should just focus on one characteristic of the picture, as what Kandisky suggested in� poling: analytical drawing�. In my example of the peacock feather, I can choose the eye feather or T feather. For example of my found pattern, I focus on the arrangement of the eye feather and start my design from there.
M1-IDEATION: THE STARTING POINT
For the second stage, Kandisky says we need to figure out the tension in the structure. For the peacock feather, tensions are from one point and extend outwards, and supporting the formation. And translation is as the third stage, this process allows us to take a physical visible pattern and translate it into an abstract language, to make up lines of two points. And also In the lecture, there are three theory introduced and instructed to explore, are symmetry, balance and movement. Based on the work in the first and second stage, many possible combinations may come out. The found pattern is at left-hand side. For the first pattern—at top-left, I focus on creating the movement, I decide to use concave and convex lines to link ovals in order to make it more coherence and urge viewers to follow the flow and forward extension. The second pattern at lower left corner, that I main focus on the symmetry and balance, so straight and dotted lines are used. Further, all of them starting from central point, extends outwards at 60 degree, then move up and repeat the last step.
M1-IDEATION: THE STARTING POINT
After read the reading, I found out that rather than just focus on the base component, we should view the composition as a one. Because of the emergent behaviours can’t be predicted by focus on the properties of the individual pattern. From my analytical drawing, I can find out the basic element is ovals with concave and convex lines. So my base element is the one shows at top-left, looks like an infinite sign. After the discussion with peers, rather than use ovals, I decide that just use lines with concaves and conves, which show at the top-right.
Base on the base element, I use the concept of copy and scale and follow the analytical drawing to make the first model, then combine those individual strips together to make a whole model. The second model is based on the concept of rotation and the theory of peacock feather’s formation which from one point extends outwards or forwards.
M1-IDEATION: THE STARTING POINT
The third model is making by standing up the base element and rotating it with a central line to form a three-dimensional. Stand those four wavy lines vertically in the form of upward rectangle formation, and concave and convex are touching. And then scrunching and twisting paper to shape it into a form with curves, hollows and oval shaped opening at the top. Hence, this model is still reflects the features of the analytical drawing—curvy, flow, movement and dynamics.
For the fourth model, I used mirror and rotation, copy then rotate it in 90 degree and then mirror them to make a top view like a squared rectangle is a rectangle dissected into four squares and the bottom view is like a blooming flower.
M2 – DESIGN – digitised model
In lost in parameter space, they explain the definition of ‘abstraction’ and ‘reduction’.Abstraction is a process to identify patterns at first and use of algorithm to explain a design in the most concise way, just like the recipe we made in M1. and the reduction is a process of eliminating or remove the irrelevant or unimportant details in order to moving towards a clearer formation or description. In the M2, when I make the digitized model by using Rhino, I found out that the formation of my model is really complicated and difficult to move to next step. So the reduction of the model is needed at this stage.
M2 – DESIGN – reduction of model
the reduction process of my model is showing by the following pictures. The reason why I have the model with complicated or uneven form, is that there’s too much details of the model. the problem is there’s too many pieces I’ve cut, give rise to the intersection overlapping and other problems of the digitized model.
to make a clear model, I eliminate some unimportant counter lines and pick out the counter lines at the top, center and bottom to construct my final model. but if I just use three counter lines, it will be too simplified, then I add two more counter lines in between to construct the most clear form of my model.
M2 – DESIGN – by using paneling tool to achive lighting effect
the following panelized models shows the failure of understanding the model, improper selection and the spatial relationship of the model. find out the best arrangement of the pattern and the size of the gird is based on the understanding of the spatial relationship of the model. we cannot just focus of how can we manipulate the effect by using this or that pattern, but also think about does the pattern is suitable to the model and how can I set the grid to make the model clearer and simple.
M2 – DESIGN
during the process of draw analytical drawings, use the concept of reduction and select one out of two analytical drawings for making paper model. more, simplify the model according to the base element I’ve choose before, so I can apply scale, extrusion on the model. while changing the paper model into clay model or clay model into paper model, I find out that both materials have different properties. As in the reading, it says we should be aware of the material. Even when follow the same recipe their come out is different. in week 7’ s lecture, Ben talked about the tolerance of the material, to get well known of the property of every material is helpful for our design. When making the model we need pay attention to is property, as the softness or tolerance of it. When I first time do the fabrication, I find out if the tab or the border is too narrow, it is tore up easily by hand.
M2 – DESIGN – thinking of the context
At the end of the module 2, I reconstruct the context of my lantern, because of the fialure of the panling. After considering all of those contexts, I’m trying to implement all the ideas in Rhino. First, Do the transformation of the form of Rhino model. I was wondering that can I just let those two layers of model as two individual objects and only use triangles to connect them at the top or the bottom. But I find out some problems at this stage, first is that these two layer are further apart from each other, because of the inner layer’s original shape is like a cylinder, which with lots of concave and convex plane. If these two layers become closer, one layer would indent or intersect to another .Another problem is that the separate two layers are totally two individual objects, if view these two layers as a whole model, there’s no coherence and connections and without any meanings to the design of this model. After finding out these problems, I think it is really important for me to consider how can I connect these two layers and make them look smooth enough and have a sense of coherence as a whole model – one object.
M3 – FABRICATION The first testing is for both of how does the effects look like and explore the most appropriate manner to unroll the model. For the first to unroll my model, I group up all the elements at same level and unroll them into strips. The problem to unroll the model in this way is that it is difficult for me to find out the accurate form of the model. The direction and degree of the angle and is it fold towards inner side or external side. The second problem is that it is difficult for me to find out the front and back sides. The third problem for the testing of this time, that the position of the strips in the model isn’t noted, and not easy to find out the internal and external side of the strip After do the first prototype, I changed to unroll those in the same level into two strips and set layers in order to figure out the internal & external and the position of each triangles.. In my fabrication, I unrolled my model in rings and I stack them up in layers. Although, this is a useful and organised way of assembly, it is important to pay attention to the joints between the different layers. It just like the Addictive Fabrication in the reading.
FIRST PROTOTYPE
M3 – FABRICATION
SECOND PROTOTYPE
The second testing prototype is in one to one scale, used to test the width of the tab and how does the effect looks like. For the second prototype I have changed the way to unroll and set and label the layers for those strips, so as to know the position and to distinguish the external and internal sides of each layer. As a result after the testing of the effect, I decide to make cut out for all the holes, without any halfcut. Further, the width of the border can’t be too small because it’s not easy to glue and can’t support it self really well.
M3 – FABRICATION
The third prototype is used to test the effect, the scale of all the elements and compositions of the model and how does the dashed line work. For the former twice prototype making, I just used solid line to making tabs and fold line. At this time, I’m trying to use the dashed line and look at the effect of it. But result comes out is under my expectation, the model is two closed so the lighting is not bright enough and those dashed line isn’t visible without light. Another issue is – some of the elements are out of proportion
In the reading, Subtractive fabrication is simply taking away pieces or sections from the original material. The card cutter uses this function. In doing so, we are able to get precise cut outs of our model and through tagging the pieces, we will know where each individual piece comes from and we will be able to assemble them together. It helps me to create the curve more accurately and clearly. and the other problem of my model is the side vertical plane between each piece. I delete all thes side vertical plane in the final model because It's either difficult to glue and noticeable,
Side plan
THIRD PROTOTYPE
M3 – FABRICATION
ASSEMBLY OF MODEL
M3 – FABRICATION
I feel that there is a shift in the use of digital technology for design due to the convenience of paneling tools and tessellations. It allows us to create tessellations that can be constructed through standard templates and even allows us to come up with our own patterns. And I have use some kind of Addictive Fabrication and Subtractive Fabrication during the process of fabrication.
M3 – FABRICATION
The image at the left hand side is the assembly diagram of my model. I separate my model into four parts which include top, middle front, middle back and bottom. It show s the structure of my lantern, and how can they connect. the image at right hand side shows orthographic views of my model, which present the model from four different views.
M4 – REFLECTION
Bernstein, P and Deamer, P, Building in the future: Recasting Labor in Architecture, Princeton Architectural Press, c2008, pp.38-42.
In Bernstein and Deamer’s article, craft is a process of mediating between design as a process of imagination and production as a process of technique (2008). During the design process, the risk will occur not only in the making process but also in the design process. During the model making process in Virtual Environment, fabrication helps us to find out the risk or issue of our model, in order to do changes to the final model. In my fabrication, I have done three prototypes to help me to work out the most appropriate form of my final model and the way to unroll & cut. The size of the tab could be an issue to all the students, because it means the assembly and coherence of your model. during the process of making prototypes, helps me to find out what is the suitable size of tabs and the width of the border of each pieces, all these are helping me to reduce the error of my final model. Bernstein and Deamer said that back-and-forth play between humans and machines (risk and certainty) has become increasingly import. Figure out the problem of changing virtual model into real model, then go back to change the detail of the virtual model, although it spends lots time but it promotes the best outcome.
Rifkin J, 2011, the Third Industrial Revolution, Palgrave Macmillan, C2011, pp107-126.
The reading describes how the third industrial revolution contributes to the future of the social. Royal Dutch Shell, Exxon Mobil and BP are three of the four largest companies in the world. these oil companies and the other five hundred companies relating to these three companies from different industry (Rifkin, J 2011).The depletion of the fossil oil, let people to think of their resource usage and find out renewable energy. People are trying to use them instead of the fossil fuel. These sources shared all over intelligent power networks to achieve optimum energy levels and maintain a high-performing, sustainable economy. This implies that our thinking should move form an analogue mode to a digital mode. We cannot imagine how large the benefit of network has. It brings all the things together and let the process become more efficient. Digital world is one of the most successful developments in the Third Industrial World. From the study of virtual environment in this semester, I find out the digital technology play a very important role in the designing process. Rhino software provides a more accurate for me to build the model. It help me can build and review the 3D. These could not achieve by hand drawing. Further, the cut cutter provides a more efficient way for fabrication. Moreover, at the beginning of the semester, I even could not know we can use the card cutter to cut out the pattern. As a result, although I had lots of idea, I prevent to design a too complex form since I think it must be a huge job for me in building the model. It is no doubt that I might still up cut the pattern by myself without the card cutter, but the model will have many mistake and not accurate. The cut cutter can solve all these problems and improve the efficiency.
REFERENCE LIST
1. Ball, Philip, 2012, Pattern Formation in Nature, AD: Architectural Design, Wiley, 82 (2), March, pp. 22-27 2. Bernstein, P and Deamer, P, Building in the future: Recasting Labor in Architecture, Princeton Architectural Press, c2008, pp.38-42. 3. Iwamoto, L 2009, Digital fabrications: architectural and material techniques, Princeton Architectural Press, New York. 4. Kolarevic, B 2003, Architecture in the Digital Age – Design and Manufacturing, Spon Press London. 5.Rifkin J, 2011, the Third Industrial Revolution, Palgrave Macmillan, C2011, pp107-126. 6. Scheurer, F & Stehling, H, 2011, Lost in Parameter Space? IAD: Architectural Design, Wiley, 81(4), July, pp. 70-79 7. Metropolitian life insurance company tower at night light up – via WIKIMEDIA COMMONS 8. The Beauty of the Peacock Tail and the Problems with the Theory of Sexual Selection VIA http://www.answersingenesis.org/articles/tj/v15/n2/peacock