STUDENT NAME: XIAOLAN LU STUDENT NUMBER: 611664 SEMASTER: 01/2012 GROUP NUMBER 09
Using the methods mentioned in the reading materials: TOOLING/ ARANDA, LASCH & ANALYTICAL DRAWING/ POLING. Reflected to the lecture
I use the method “FIRST STAGE” & “SECOND STAGE” & “TRANSLATION” to draw these three paintings.
Fist stage To subordinate the whole complex to one simple overall form, which…must be precisely drawn in To realize the formal characterization of individual parts of the still life, regarded both in isolation and in relation to the other parts. To represent the whole construction by means of
Second stage Making clear the tensions discovered in the structure, which are to be represented by means of linear forms. Emphasizing the principle tensions by means of broader lines or subsequently colors. Indicating the structural network by means
Translation Objects are regarded exclusively in terms of tensions between forces, and the construction limits itself to complexes of lines. Variety structural possibilities: clear and concealed construction…
It’s an interesting phenomenon whatever these pattern look like they are all self-organized. It is know that these common features of natural patterns result from mathematical analogies and equivalences. In these natural pattern the relationship of symmetry and balance can be clearly seen. What’s more focusing on analysing my pattern I find the rules of attraction and repulsion. In my designing process, I would like to add these two ideas. I think with these two principles my lantern will be closer link to the nature.
Researching the existing architectures I try to find if the patterns in the building indicate the movement of attraction and repulsion. Furthermore, the relationships between the patterns and the lighting effects of the building. I find that the combination of patterns with different size and shape has a better outcome.
GRADUATE PROGRAMME_LONDON [2009-10]
Milan 2008 Greenenergy Design show: Antonio buildings in the business area of shinjuku, tokyo, The Voussoir cloud, Iwamotoscott Architecture, Times Eureka Pavilion, Paul Loh & Nex Architecture Citterio’s ‘Lace’ Buro Happold Home, SCI-Arc students 2011
The patterns in these four architectures are all simple geometric figure. However with the different ways that they combine with each other and the different materials they use the appearance are quite different. The materials each building used also have different effect on lighting outcome. I think tracing paper is a good choice to soft lighting.
Consider how light or lighting can change the perception of my lantern. Using the idea of direct filtered and diffuses to control the light and make it distortion. The idea to make this paper model is developing from the analytical drawing of balance. The key words are scale, mirror and rotate.
When I make my model from my recipe I first use the method of abstraction, as model, by definition, is always an abstraction of reality. Building a model means reducing the infinite complexity of real world to a level where it can be described with manageable effort. I found according to my recipe my model has too much redundancies that make me really difficult to do the model by paper. So I also use the method of reduction to make it easier to be made by clay. My clay model have two skins.
DESIGN
LIGHTING IN NATURE These graphs about light in nature give me ideas about how to control the direction of the incident light to have different shadow create different feelings
INTERFERENCE
LIGHTING IN ARCHITECTURE Two images from the precedent architecture, in these patterns there are combination of different size of emissions.
From analyzing the lighting effect in nature I find the lighting outcome I want to achieve is like the phenomenon of interference. I would like to put this idea into my design. In order to have this effect I decide to use two skin in my lattern
DESIGN I try to use 2D & 3D paneling tools to play the model. I design the three different types of panel and put them into the model separately. The designing of these three panels are coming from my three analytical drawing (movement symmetry and balance). The key wards are scale mirror and rotate.
DESIGN These images are prototypes of four joined panels from each design alternative. In the design process I thinking the ideas indicate in the module lectures and readings. According to myself the main differences between ‘abstraction’ and ‘reduction’ is that abstraction needs more analytical thinking, you need to have clear idea about which law you are use what final results you would like to get. Refer to reduction it’s like a process of cleaning up your model and this process is irreversible once we reduce we will never get our initial work.
DESIGN
The size of the triangle decreasing in the skin B and increasing in the skin A, this rule repeat in each section, this is the patr of movement. On the other hand this is also balance, the balance of attraction and repulsion.
DESIGN
Although I have make three panel design previous but I find the designing are not good enough to show the idea of attraction and repulsion. According to the lighting effect about the joined panels I think the effect ‘interference’ has not been shown. So I rethinking the design ideas from the model 1 & 2, I decide to use two skins in the designing just like the recipe shows. These two images are the view of combination of two skins and the view of outside skin and inside skin separately.
FABRICATION
OUTSIDE SKIN
INSIDE SKIN
FABRICATION Black lines = Cut Red lines = Score Machine: Card Cutter Tad width = 8mm According to the shape of the panelling I have tryed to set uo logically and economically, but the panelling fot skin B is bigger than skin A they cannot been put in just one card. The width of the tab is 8mm, I marked end-tabs as score lines in order to make sure all the pieces remained on the card
FABRICATION I made a full scale prototype to test the overall outcomes including the light effect. From the week 9 tutorial I find the problems of my ohototype, for example the tracing of the glue is obvious the gap between the paper is too bigger, the mark which I used to indentify piece of paper hasn't been removed.
FABRICATION
TOOLS & MATERIALS
OUTSIDE SKIN
INSIDE SKIN
FINAL MODEL
UHU glue
Knife
Application Tape
Tweezer
FABRICATION
LED LIGHTS
BATTERY 9V
ADAPTER
CABLE WIRE
ON/OFF SWITCH
Light circle designing LEDS wired in series,a switch was added to enable easy control all the LED lights
I decided to arrange the LEDS in the mddle of the model cause my model is not a big one, 3 LED lights are enough to light up the whole lattern
FABRICATION
FABRICATION Tracing papers are used to hide the wires In the outside skin there is a door to put and LED lights. the switch, the place is where I hold the model
Using tabs to link with the outside skin and the inside skin.
This time I use card cutter to do my work. Obviously it saving time to cut all the patterns. However I find the limitation of the cutter. For example when it cut the tiny things the edge is tough. Fro the module reading I know: Digital fabrication is a process from digital to physical. This equipment enables architects to design specifically for the capabilities of those machines. Two-dimensional fabrication is the most the most commonly used. But it can only cut materials that absorb light energy. The milling of Subtractive fabrication can be axially, surface or volume constrained. A post-processing software that generates the CNC instruction that are made of commands that consist od words. The CNC multiaxis milling is one of the oldest digital fabrication technologies
FABRICATION
The connection of my model is very simple . In order to link skin A and Skin B I use 3 tabs as the graph shown. The four graphs in the botton is the four view of my model.
TOP
PRESPECTIVE
LEFT
FRONT
REFLECTION
REFLECTION
From this semester’s VIRTUAL ENVIROMENT study, the most meaningful thing l learn is to think critically and how to express your idea to others. I still remember at the first time when I know I need to design a lantern from a natural pattern I felt it is impossible. I believe the most difficult part of the designing process is always at the beginning, I have no direction and do not know what to do especially in the module 1 process. It is undeniable that the things you design and the things you finally get cannot be exactly same. In the designing process I need always ask myself what’s the key idea I want to show others. Is this design necessary? Is it according to my recipe? Is the recipe good enough to make an interesting lantern? I change my design with time, by now when compared the fist design of lantern with the last one, I can find the link between them but the one I have now is more attractive and interesting. From this process I learn how to self-exam my designing, how to find the useful information from other materials. In the model making process I learn the model making rules from the making of prototype, how to make my model make people feel comfortable when they look at it. In order to make a perfect model we even have tried to use all the types of glue you can find in the market. Using some unexpected tools such as tweezers give me a surprised better result, I think I really get fun from this process, you will meet quite a lot problems but at last you solve by yourself. I am becoming proud of myself. When I review my module 1 and module 2 I find the layout of PDF I make is really unreasonable. In this semester’s study I also begin to know how to use the INDESIGN software, from the whole semester I discover the way to make my journal let people feel pl