Design - Student Journals Sem1 2012

MODULE 2: DESIGNSTUDENT JOURNALS

SEMESTER 1, 2012

VIRTUAL ENVIRONMENTS

Faculty of Architecture, Building & Planning. University of Melbourne

A SELECTION OF MODULE TWO STUDENT JOURNALS PRODUCED BY STUDENTS ENROLLED IN VIRTUAL ENVIRONMENTS IN SEMESTER 1, 2012.

STUDENTS WILL USE ORTHOGRAPHIC PROJECTIONS AND CONTOURING TO DESCRIBE THEIR MODELS. THEY WILL USE THESE DRAWINGS TO

DIGITIZE THEIR PHYSICAL MODEL INTO THREE-DIMENSIONAL COMPUTATIONAL REPRESENTATIONS. STUDENTS WILL DEVELOP THEIR DESIGNS

FURTHER USING DIGITAL MODELLING TECHNIQUES

THE VIRTUAL ENVIRONMENTS COURSE FOCUSES ON DIGITAL DESIGN METHODS AND DESIGN COMMUNICATION AND IS A CONSTITUENT COURSE

OF THE BACHELOR OF ENVIRONMENTS AT THE UNIVERSITY OF MELBOURNE

MODULE TWOAARON LOUGOON 328159 SEMESTER 1/2012 GROUP 12

READINGS AND LECTURESThe main ideas I took from the lectures were the methods of both paneling and then construction of a desired form. The guys from Earl Pinto showed a real in-sight into the dynamic nature of plywood construction with specific lighting/lat-tern examples. They also had the focus of inspiration from the natural world, with the Anise light (from star anise seed; below right) a great example of this transla-tion. Lecture seven looked in depth into the design and fabrication of the Times Eu-reka Pavilion. The idea of dynamic round panels inside and rigid irregular penta-gon was introduced, but then as a product, new lighting effects were created by having thick and thin aspects to the panelling. The image right displays this superbly. To round off the lectures for this module, it recapped the process of design so far and then proceeded to describe how representing the construction/making of buildings has changed over time, and how digitization is shaping new design and inspiring new forms. This lecture fitted in well with the reading on Represent-ing, Constructing, Simulating by Dahan-Dalmedico and a TED talk by Greg Lynn that suggested that mathematics is still shaping design thoughts and processes, just in a different manner as to our past precedents.

SUMMARY OF NATURAL PROCESS

During embroyonic development, a blastocyst is formed over a period of days from a zygote cell splitting and multiplying. As the cells multiply, the interior is hollowed as the cells shift to the exterior. Almost bubble like in formation I feel that this type of rendered surface, whether shown in whole or bisected. I chose to move forward with the natural process of human development, but I wanted to experiment further with the surface and appearance of the shell. The first drawing is one of my initial ideas where the balls are fully closed over. After seeing some more inspiration by architects and designers I thought about cutting into the cells to completely expose the interior and the lighting circuits or just having smaller shaped holes to let out vast amounts of light in one direction.

Image top right is of the Olympic Aquatic Centre in London designed by Zaha Hadid. Second image on the right is a Digital Origami Emergency Shelter by LAVA. Third image on the right is Melbourne CH2 building The bottom imgae on the right is the Astana Railway Station alos by LAVA.

FINAL MODELThere was one major aspect that I changed in moving from Module one to Module two and that is the scale and use of the lantern. Due to size constraints and my initial proposed positioning on the body, I plan on hanging the lantern from the roof and increasing the scale from 1:3 to 1:7 (right on the space parameters).

DIGITIZATION

Due to the simplistic form of repeating but increasing (size of) spheres, digitization of my model was straight forward. Once I had established the right scale, I could compare that to the 1cm guide in my photos of my final model. I set up a grid in photoshop with my image and the scaling correct then imported the combined images into Rhino to begin modelling.

DIGITIZATION CONT.

37cm

98cm

The images were imported into Rhino via the Picture Frame command (image below left). Once in Rhino I used the sphere shape creating tool, and began creating the row by following the images as close as possible. Some of the placement was not perfect but that is only due to my inexperience in model making

EXPERIMENTATION WITH FORM

With the change in use of the lantern came new ideas of how to hang or position the lantern on a wall or from the roof. These experiments show the change from the initial model to centred, that could be hung by the small-est spheres from the roof, gradually getting bigger and brighter. The model bottom left, could be a staggered hanging from a wall out into space or also falling from the roof but a differing heights.

EXPERIMENTATION WITH FORMI wanted to keep the idea of the solid cells as unchanged as possible but I still needed to experiment with how I was going to display the form. Initially I used control points to exagerate the main cell with a sharp point, creating a head like structure at the start of the lantern, giving it more defined direction (image top left).The next idea was to abstract the form into blocks, with a central space that contained the original form. I went further to explore lighting by removing cylinders from the blocks, while retaining the curves and changes in direction of the initial form.

PANEL EXPERIMENTATION - 2D

My inital thought was to group the spheres and cre-ate one surface, to con-teract the interacting sur-faces and panels. I used the booleen tool to join adjacent cells from which I then used surface domain to get the points for panelling on the forms surface. By changing the parameters I could cre-ate elaborate close panels or more spaced panels.

Box panels with dense and less dense array of points.


From the experimentation with 2D panels I soon realised that the builability of models with a dense array of surface points would be absurd, so I moved to a more simple UV array with no more then eight sides. Like my original plan of wrapping the lantern around the arm, working on a millimetre scale would be more then difficult. This was close to the stage where I reverted back to some of my earlier sketches of flat cross-hatching panels creating a grid or something similar. After watching a few more tutorials on using the panelling tools in Rhino, I moved ahead with the fin edges command but first I wanted to try another method of creating my form as a whole.

2D brick panels on varying densities


From the centred form I created earlier, I took a bunch of isocurves and then lofted them to create a simi-lar overall form. The idea behind this was to free up space between the cells, and as this model would be hanging vertically one side of the spheres would not be seen. This space could then be used for the con-nection between cells. After I was happy with the form again, I took more isocurves to create some more finned edges on the interior of the shape.

Lofted from isocurves

Fin edges from lofted surface from above.


During my experimentation with 3D panelling, I was constantly trying the inverse of any panels I made. Some ideas were cylindrical hoops and its inverse of cubes with revealed holes from cylinders, finned edges on the exterior of the shape and square pyramids, with both the big and the small sections reveal-ing lighting. I did not go ahead with these ideas as building solid shapes would again be to difficult on that scale and to do so many and then have to connect then to become a rigid structure would also be hard. I did however also begin to experiment with combining both 3D panels and finned edges to create more abstraction of lighting, but again construction would be difficult.


PANEL EXPERIMENTATION - IDEA ABSTRACTION

After a while it became apparent that I had an interest in hooping by using the fin edges command. So I began to abstract again by using the largest diameter of each sphere and create a cylinder of hoops over the same amount of space used by each sphere (creating the effect of the image bottom right). Inspiration for this came from the OMV H2 house proposed by Greg Lynn. This idea grew further by making each row of hoops continue to the largest and last ring, this retained much of the original curvature and form. I did come into trouble though when the rings began incorperating into each other, so progress stopped and I went looking for more precedents of layering, looping and hooping.

PRECEDENTS - GREG LYNN: LAYERS

Architect Greg Lynn forms and facades had the most ideal vision of where I was headed. With a focus of lighting, many examples of his buildings (proposed or built) such as proposed World Trade Centre site and the Port Authority triple bridge gateway (above left and bottom, respectively), show this transition through a space where lighting differs. The conveni-ently named Embryological House (far right and be-side) also shows the idea of panelling that I hope to incorperate. This central idea of layering is focusing on the bisection of the blastocyst, that reveals a layering system of cells, or a ring of cells.

Images from lefto to right; World Trade Centre site design, European central bank design, Eyebeam Museum Competition, Embryological House (and far right) and the Port Authority Triple Bridge gateway.

PRECEDENTS - GREG LYNN: BULBOUS FORMS

It was interesting to see some of the other design pieces by Greg Lynn. In particu-lar Sciarra blobwall and how repeatition of irregular shapes can still form strong bonds and be self supporting. The lantern above just looked really cool so I had to put it in.

Images from left to right; Sciarra lamp, Sciarra blobwall, Eyebeam Museum of Art and Technology Competition and Saddiyat Museum Pavilion No. 3, all forms by Greg Lynn.

PRECEDENTS - ANDREW KUDLESS: LAYERS

All images on left are FLUX and image on right is C_Tower by Andrew Kudless.

FLUX, which is the installment on the left is a great example of dynamism through revolving a set of shapes. It utelises fanta-sic lighting to create a visual passageway both through and along beside the struc-ture. This could be adapted to the finned edges of my shell.The image right shows how seemingly fluid shapes can be broken down into its layers, while creating a differing pattern as you go upwards, similar ot FLUX.

PRECEDENTS - ANDREW KUDLESS: BULBOUS FORMS

Images from left to right; seed (P_Ball), Chrysalis (III), Diploid_B lamp, B_lamp, Kudless C_Wall, Cross fabrication, Voronoi Morphology and Manifold Prototype, all designs by Andrew Kudless through Matys Design.

To explore 3D paneling further, these precedents show whats capable in terms of a range of both rigid flat faced panels and fluid curved highly vary-ing panels. Although not in the direction I am heading its still a good insight to whats possible, especially to be free-standing.

PROTOTYPE AND LIGHTING

This is my prototype of a mid-section of the lantern. I tried both flat and curved rings and differing supports but the main purpose was to get an idea about the lighting. Going back to the idea of how the rings rep-resent the bisection of the blastocyst during growth, an idea I have come up with is as the cells get larger more light is released. The progression of the idea of thick to thin and a coresponding amount of light, highlights again the connection to growth of the cell.

PROTOTYPE AND LIGHTING

MODEL REFINEMENT

Getting closer and closer to a design idea I am happy with that I can actually model. The idea for this lantern is that it can either be coming out from a wall gradually getting brighter, or hanging free out in space. I took isocurves of the structure above (left) and created the rings that were evenly spaced (2cms apart) and gradually getting larger in width (2cm for 1,2 and 3, 3cm for 4 and 5 and 4cm for 6 and 7). It seemed a suitable scale for both visual and construc-tion purposes. I did however struggle with an idea of how to connect the rings of each cell to the next but I think I found a different solution that hopefully doesn’t hinder construction to much. To connect the cells, I created another isocurve but in the opposing direction (two for stability)but this time finned on oth sides of the surface allowing these rings to intersect with the adjacent rings.

Custom “fin edges’ ribbing

FINAL DESIGN - ORTHOGRAPHIC

FRONT TOP

RIGHT ELEVATION

FINAL DESIGN - PERSPECTIVE

EVALUATION AND REFLECTIONThe focus of Module Two has been how to go from analogue form to digital, and I guess to show that due to computers our understanding of design boundries has been dramatically expanded. Looking at how these methods have been applied both on small scale furniture (lanterns) to large scale archi-tecture is mind-blowing. I was watching Sketches of Frank Gehry (documentary) the other day and it seems even more apparent how important digitization is in the world of architecture now, seeing Franks team translate a sribble into a masterpiece can only be done thanks to the aid of the computer.

Prototyping was another new aspect of design for me, ive made models in the past but never have I drawn as much information from the prototype as I have for this one. Angles, paper thinkness, notches, and all with out any support (glue, tape, etc.) as I thought it would be good to test the materials as well as myself. I found the key to modeling/prototyping is to understand the material, its strengths and weak-nesses are always going to influence how you go about design and construction.

I found the lectures very interesting but slightly disconnected from the scale at which our major assign-ment is headed. That said, it was a great help to get a grasp of precedents in terms of design through to construction as opposed to just visually and for inspiration.

Back to my model and the design and thought process, I think im getting better at interpreting and applying abstraction of ideas, for example, the reasoning behind varying sizes of ribs as well as the ribs themselves (cell width during embryonic growth), but saying that I would have loved another six weeks to refine and explore all the capabilities of my model (and Rhino).

Overall, from Module Two I have learned so much, not just about digitization but also the scope at which it can be applied. Rhino has been a great tool for trying to convey all my ideas, with success on varying levels. I cant wait to start trying to construct my shell into a lantern, many challenges and rewards await.

REFERENCES

1. Greg Lynn Form - http://glform.com/2. Matsy Design by Andrew Kudless - http://matysdesign.com/3. DeZeen Magazine - http://www.dezeen.com/4. Zaha Hadid architects - http://www.zaha-hadid.com/5. Laboratory For Visionary Architectue - http://www.l-a-v-a.net/6. MoMA PS1, Playa Urbana by William Massie - http://www.moma.org/interactives/exhibitions/yap/2002_william-massie.html7. Earl Pinto, Lighting and Furniture - http://earlpinto.com.au/

Virtual Environments

MO

DU

LE 2 DESIG

N

Alister SluiterStudent Number: 586507 Semester 1/2012 Group 01

Module 2 Submission

Alister Sluiter 586507


MO

DU

LE 2 DESIG

N

L i m i t a t i o n s o f o r i g i n a l m o d e l

The branching in the above model is not easy to replicate as a NURBS surface. I discussed various options with various tutors which included: • warping a sphere into an appropriate shape or• creating two surfaces which could be joined together as a polysurface

(shown at right)

Of the above options, however, neither seemed very practical for this project; thefirstwouldbeextremelydifficultandtime-consumingtoaccuratelycreateand the second would create a polysurface, which Panelling Tools doesn’t work with.

A polysurface similar to my original clay model.

Module 2 Submission



MO

DU

LE 2 DESIG

N

S i m p l i f i c a t i o n o f m o d e l

After my Module 1 submission, it became quite clear that the model I had preparedthusfarwasgoingtobetoodifficulttomodelinRhinoduetothebranching at one end. After consulting with various tutors, I realised that the quickest and simplest way to remedy the problem would be to simplify my model by cutting off one of the branches. After cutting, I simply smoothed the stump overtokeepthefluidityoftheobject.

The appendage that was removed was not vital to the structure nor an integral part of the story I wished to portray with my design.

Simplification

Module 2 Submission



MO

DU

LE 2 DESIG

N

D r a w i n g c o n t o u r s

Aftersimplifyingmymodel,thenextstepindigitisingitwastodrawcontour lines on it. I used a lead pencil to achieve this as it drew on the surface well without disturbing it too much.

Once I had drawn the contour lines, I took another set of orthographic images, from top, left, right and front angles. These photos were scaled and then used in Rhino to aline the curves created by tracing the contours.

I refrigerated my model on the recommendation of the pdf from the LMS on how to digitise your model as it help me to cut it. It made the model harder and stopped it warping very much as I worked on it.

Module 2 Submission



MO

DU

LE 2 DESIG

N

Tr a c i n g c u r v e s

After importing the image of my sliced model using the Picture Frame command I scaled it using the grid paper underneath (still at a 1:5 scale). I then traced the curves around each slice using the Curve: Interpolate Points command.

AftertracingthesecurvesIscaledeverything5timestocreatecurveswhichwerefull-sized.

Module 2 Submission



MO

DU

LE 2 DESIG

N

A l i g n i n g c u r v e s

I cropped and scaled the orthographic pictures I took after drawing on my model so that they werealsoatfullsizeexactly.IthenalignedthemtocreatetheabovereferenceboxwithinwhichIcould align my curves.

Using the move and rotate functions, I moved each curve into place and aligned them using the above orthographic reference images.

Module 2 Submission



MO

DU

LE 2 DESIG

N

L o f t i n g

Using the aligned curves and the two points I created, I performed the loft command and used thestandardsettings.Thesesettingsworkedfineandcreatedaloftedsurfacewhichisaccurateto my original clay model.

Module 2 Submission



MO

DU

LE 2 DESIG

N

F i n e t u n i n g

The above model was created after the initial lofting. I noticed, however, that there is a protrusion which would interfere with the positioning over the shoulders as it would poke into the neck.

This was remedied by altering control points on the original curve in this area (shown right) to create something which would stick out less after lofting.

After lofting, the surface was rebuilt to produce an even smoother surface.

Module 2 Submission



MO

DU

LE 2 DESIG

N

R e n d e r e d M o d e l

ThefinalNURBSsurface,shownhereinrenderedmode.

Module 2 Submission



MO

DU

LE 2 DESIG

N

P r e c e d e n t

This installation by Ply Architecture entitled Fire Installation tackled the same problemthatIamfacing;representinganaturalprocessinsometypeofman-made form.

Thisinstallationattemptstoembody“fire”inasmanywaysaspossible;intextures,coloursandalsolightingeffects,butalsoconceptuallyindemonstratingits perceived volatility.

As with Virtual Environments, Fire Installation involved digital design and fabrication, utilising laser cut aluminium in a similar way to how we too will utilise the FabLab to construct our models.

Module 2 Submission



MO

DU

LE 2 DESIG

N

A d j u s t i n g t h e s e a m

Afterachievingthisresult(right)onmyfirstattempt at panelling my surface, I became abit worried that I wouldn’t be able to panel thissurface without a large gap being apparent.

My tutor then told me in a seminar, though,how a NURBS surface is formed from awarped rectangle and so it always has a seam.

I then used the Adjust Seam function to move the seam from a less obvious position to one where it wouldn’t be noticed (on the underside of the lantern) and I was pleased to note that when I ran the same panel with a different seam, the gap was hidden (shown below).

Module 2 Submission



MO

DU

LE 2 DESIG

N

Tr i a l l i n g p a n e l s

Triangular TriBasic Dense

Basic 2D Panelling Techniques

Pyramid1 Pyramid1 Pyramid2

Basic 3D Panelling Techniques

Module 2 Submission



MO

DU

LE 2 DESIG

N


Variable 3D panelling grids

Tocreatethepanellinggrids(white,left)IusedtheSurfaceDomainExactfunction which created an even grid over the surface.I then used Offset Points and Distance Method:Point Attractors to create anoffsetgridwhichvariesinthedistancefromthefirstgrid.

Then, using the grid described above, I used the Pyramid1 3D panelling tool to create the panels at left.

Module 2 Submission



MO

DU

LE 2 DESIG

N


Fin Edges command used on a custom 2D panel

A 2D panel created using the Manage 2D Pattern Library command

Tocreatethemodelatleft,Ifirstdrewcurvestobepanelledovera grid using the Custom 2D function. I used a grid created with SurfaceDomainExactandpanelledthecustomcurves.Then, using the Fin Edges command with their standard settings, Ipanelledthecurves,howeverthefinsweretoodeep,soIhalvedtheir depth and tried again. This produced a more satisfactory re-sult, however a very complicated one and one which I most likely could not replicate by hand.

This panel was created using the same panelling grid, however instead of using the Custom 2D command, I added a panel to the library and used the standard 2D panelling command.

While I liked the aesthetic of this model, I thought it would be very weak once formed from card.

Module 2 Submission



MO

DU

LE 2 DESIG

N


After trialling all these panels I realised that if I wanted to retain the curvature of my original NURBS surface, I would have to create a model with a lot of panels. After this realisation, I decided that simple panels would be the best way to go, since there is a lower chance of mistakes being made.

Hence, I decided to use 2D geometry rather than 3D. This narrowed myoptionssignificantly,butIdecidedthatonceIhadchosenabasic pattern, I could alter it in various ways, by trialling different attractorsorcutoutsforexample.

I decided not to use the Triangular pattern as it was too angular and produced too many sharp points, whereas TriBasic and Dense manage to achieve an appearance of smoother curves.

In the end, I decided TriBasic would be my basic pattern since it appeared smoother throughout the entire model, whereas the Dense pattern looked a little bit messy in the midsection and didn’t achievetheflowofanaurora. The basic pattern I decided to base my design on

Module 2 Submission



MO

DU

LE 2 DESIG

N


Variable 2D panelling grids

Using the command Surface Domain Variable and attractor points (yellow, left), I created a panelling grid which varies in density across the surface. The grid is denser at the 3 bulbous sections and more sparse throughout the sections that join them.

Then, using the grid described above, I used the Tribasic panelling pattern to create the panels at left.

Idecided,however,thatthismodeldidnotreallyreflectedthegraceorflowofmyoriginalnaturalprocess.

Module 2 Submission



MO

DU

LE 2 DESIG

N


Using ptOffsetBorders, a TriBasic set of panels, and different Attractors I created these three designs.

Ilikedtheaestheticcreatedwiththefirstexample(PointAttractors),however I could see that the model wouldn’t have much structural integrity; especially at the two ends.

I then decided to use curve attractors so that the ends could remain stronger.ThefirstresultIgot,however,hadholeswhichweretoolarge(tabs to join sections would be miniscule and the sections with holes would be very weak). I then decided to adjust settings which allowed me to achieve the same aesthetic, but with increased structural integrity.

Offset Borders with point attractors at the two ends of the model. Offset Borders with curve attractors in the middle of the two bulbous ends of the model.

Offset Borders with curve attractors in the middle of the two bulbous ends of the model, but settings which created smaller holes overall.

Module 2 Submission



MO

DU

LE 2 DESIG

N

F i n a l d e s i g n

Thefinalpanelleddesign,shownhereinrenderedmode.

Module 2 Submission



MO

DU

LE 2 DESIG

N

P r e c e d e n t

Architects Coop Himmelb(l)au of BMW Welt in Munich, Germany also attempted to represent a natural process in their design.

“We translated the geometry of a constantly changing cloudintoarchitecture”-WolfD.Prix

These architects used parametric design to create a planar-panelledsurfacewhichhasacertaingraceandflowaboutitwhichissomethingIwishtoachievewithmylantern.

Drawinginspirationfromthisexampleofparametricdesignbasedonnature,Ibecamemoreconfidentinthe decisions I was making and allowed myself to be more open to different options for forms and panelling techniques which would help me produce something that better represented my natural process. BMW Welt, Munich

http://www.bmwblog.com/

Module 2 Submission



MO

DU

LE 2 DESIG

N

P r o t o t y p e

For my prototype I decided to create a section which I thought would be hardest but also the section I was most uncertain about in regards to its structural integrity.

I used 250gsm card to create it and hand cut the pieces using a Stanley knife. While it took a very long time, I was pleased at the end to see that the structure I had formed was very sturdy and also aesthetically pleasing.

Another aspect which I wanted to test was the way the lantern would cast shadows. Using one LED at the base of the prototype and a makeshift photostage, I took the photo at left and I am quite pleased with the outcome. The shadows created around the lantern are very interesting to look at and are quite beautiful really. There is something quite ethereal about the shadows that are cast and this is something I wished to capture from the beginning since auroras, too, have an ethereality about them.

I decided I would unfold my design in long strips,meetingattheapexratherthanin rings as I like the long, smooth and sometimes twisting lines created by each stripasthisreflectsthecurvature,grace,andflowofanaurorabetter.

Module 2 Submission



MO

DU

LE 2 DESIG

N

R e f l e c t i o n

Digital techniques for design are advancing in leaps and bounds; opening up possibilities for designing and fabrication which could not have been imagined in the past. Techniques such as laser cutting and 3D printing are allowing increasingly intricate objects to be created without human touch.

There are, however, many who are tentative of the raw power of parametric design; thosewhoclingtoanalogmethodsasiftheywillbeforgotteniftheyembracenew-agedigital methods. In my opinion, though, there is a place for both in the modern day. Thedramaticandawe-inspiringdesignswhichcanbecreatedusingcomputersshouldnot be cast aside simply because they weren’t created by hand. Holding on to analog methods of design does not advance it, it hinders its advancement by limiting the possibilities for innovation.

A computer cannot replace a human in design. Humans still have to conceptualise their ideas and input the data. And, as I discovered with my model, often humans need to edit what the computer returns with. My model had some panels with holes in them which I didn’t want, and so I had to manually design whole panels to replace them.

Compared to the analog methods of last module, this one was vastly different. By being able to utilise Rhino, we were given a huge amount of power to create something quite remarkable. While we were limited to basic techniques of digital design,Iwasstillamazedattheentireprocess;beingabletomanipulatethingssoefficientlytocreatesomethingwhichIwashappywith.Forme,itwasmuchsimplertomanipulate something in Rhino than it was to sketch or model it with clay.

This module taught me a great number of skills which I hope to improve on and utilise in the years to come.

References:

Tutorials-Rhino(LMS)<http://lms.unimelb.edu.au/>• Setting up your custom interface for Rhino (Part 1 and 2)• Panelling Tools Manual• Custom Patterns with Panelling Tools• Using 2D and 3D Library Patterns• Using the Command PtOffsetBorder• Unrolling for Fabrication in Panelling Tools• Nest and Print• Tips for Students Manually Cutting Their Models• Creating Tabs• HEADSPACE: Assembly Process

FireInstallation<http://www.plyarch.com/Fire-Installation>

BMWWelt<http://www.bmwblog.com/> <http://www.coop-himmelblau.at/site/>

MODULETWO

Annie Cheng 585939

Semester 1 . Group 1 . 2012

Module One - Ideation

In the fist module our task was to explore different natural processes and select one for further elaboration in which will inflluence the design of our lantern models.

My choice of topic was Flight of birds, where I specifically focused on the flapping movement of their wings. Of the various designs that I had thought of I chose three in which were then modeled with plasticine.

Of the three plasticine models I have chosen the first one to be my main design for my lantern and have altered it to a form that better describes the wing flapping motion.

Module Two - Design

Our task for this module is to use orthographic projections and contouring techniques to illustrate our models which will then be digitized into three dimensional computational representations.

We will be usng Rhino throughout this module in order to further develop our designs and model it out in the virtual world.

Segmentation

In order to transfer my plasticine model onto Rhino, I have applied the contouring slice method, where the model is up into sections and the outlines of each segment is traced so that it can be stacked up and lofted to create a similar shaped surface.

During the process of cuting up the surface, I found it very difficult to maintain its shape , as weight is put onto the model leading to the flattening of some areas of the model. This had somewhat affected the accuracy of the digitized model.

&Digitization

With the use of reference images the following surface was created on Rhino:

This surface was rebuilt so that that it’s less dense, with 10 points going through both ‘U’ and ‘V’ diretions. As you would have noticed, a lot of the defined curves have disappeared and has instead, been replaced by irregular flowing waves.

I played around with the spacing of the traced segments to see if I could enhance on the curves.

I wasn’t satisfied with the results and so i I tried altering my digitized model using cage edit and control point editing as suggested by my tutor.

However, rather than enhancing on the curves, by making the height of the model shorter only made it look bulky, losing the flowy look that I’m after.

EDITING&MODIFYING

CAGE EDIT

Cage edit allows me to freely rotate and alter the general shape of the object confined. While it saves me from havving to move one point at a time, the problem was that it’s dif-ficult to show a better defined rota-tion and so the results from using cage edit were less than satisfactory. But it was very interesting to see the dramatic changes in the surfac shape when the points of the cage are moved around.

POINT CONTROL

Where the surface is covered wtih points in which I can easily move around. Using point control, I was able to slowly adjust the shope until it was the closest I could get to what I wanted. There was a lot of difficulty though as a lot of time was spent trying to play around with these points.

If we refer back to module one, the main focus of this model is to show the ‘flow’ of the movement. Thus rather than focusing on the accuracy of the digitized models shape, I decided to shift my attention to the representation of the curves. Thus I have modified my model using control points to create a much smoother surface compared to before.

While still keeping the fundamental form and direction of curves from the original model, I have manipulated the control points so that the surface is simplified, only showing the major curves of the model.

FINAL MODEL SURFACE

PANELING TOOLS

Basic Model Surface

PANELING WITH BASIC 2D PATTERNS

Below I have used Wave, Triangular, and Tribasic 2D shapes to form a panelled surface. The Wave and Triangular cannot be applied as there are gaps at the bottom of the model, and they fail to fully show the curves of the model and instead, hardens them with sharp edges, which is not what I am aiming for in this project. The Triba-sic turned out to be the most suitable. However I did not wat to just settle on this one without comparing with other possible paterns.

2D CUSTOM PATTERNS

I experimented with a few different types of shapes, generally simple 2D shapes such as circles, pentagons and diamonds just to see the visual effects. The diamond one was especially effective in showing the twisting of my model. However, my main concern is whether or not I will be able to fabricate this later on in this project as the diamonds are conected by corners, and even though i could simply leave no gaps in my model, there would still be difficulties in connecting the parts of the net together. This made me realise three main aspects that I must consider when creating a custom pattern:

- Visual - whether the pattern compliments the shape of the model.- Structure - is it possible to fabricate and is it able to hold itself up?- Meaning - does the pattern help to convey the meaning of the model?

To develop and customize a pattern considerate of the three major aspects suited for my model, I decided to explore a few forms of patterns in which i can then ap-ply its logic and rule to my custom 2D pattern.

PRECEDENTS -

PATTERNS

TESSELLATION

The process of creating a 2D plane using repeated geometric shapes with no overlaps or gaps. Tessellations of the plane by two or more convex regular polygons such that the same polygons in the same order surround each polygon vertex are called semiregular tessellations.

Vector Tessellation is a repeated pattern made up of 5 or more transitions over the same plane.

<< Figure 1.1 - Some examples of tessellating patterns

Tessellating patterns can create amazing effects. We can see the way the slight changes in the distribution of shapes can change the pattern completely, forming a new look for the plane. From this simple research I have developed some more ideas on the patterns that I can use following the rule of tessellation.

^Figure 1.2 - example of vector tessellation

PRECEDENTS -

ST. MARY AXE(London, UK)

This building is regarded as the most beautiful skyscraper. It is located in the city of London and is shaped like a missile. I was immediately drawn in by the defined shapes on the building. The way the constructors chose to highlight the rounded concept of the building by using dark and light coloured curves that swirl around the it to create the illsuion that the building is very smooth interested me. As my model is also based on the concept of flow and rotation, I may apply some of the ideas used in the construction of this bulding.

Figure 2.1

Figure 2.2 (top) Figure 2.3 Figure 2.4

FURTHER EXPERMINENTING WITH 2D PATTERNS

I experimented further with 2D custom panels and came to find fin edges being a suitable form of net as my model involves a lot of curves, and fin edges was able to maintain that curve whereas the flat surface nets tend to flatten and sharpen the curved areas. Also, fin edged nets would allow a lot more light through which is what I want for my lantern to show the ‘light-ness’ of birds when they fly.

I tried a few different patters, but found that the basic patterns worked the best in refliecting flow. As seen in the figure above, where I used 3 different geometric shapes for the pattern, the model looks very messy and loses that simple abstrat ap-pearance in which can be seen through the other figures on the left.

3D PANELING EXPERIMENT

In comparison to the 2D panels, 3D paneling is a lot more bulky as we can see in the examples on the left. I’ve tried all 3D grid patterns, from box to pyramids, and note that a lot of the model’s details are reduced. Of course this can be improved by adding more grid points, however by increasing the grid points, the pattern size is reduced, which means it will be harder to fabricate (unless building rib panel) as the paper material is quite hard.

PRECEDENTS -

3D PATTERNS

PAPER ORIGAMI & SCULPTURES

The main material used for this project is paper, and so by looking at paper origamis and sculptures I can extend on my understanding of their characteristics and limits.

Paper origami is a form of japanese art, where different forms and shapes are developed through the process of folding paper only. From the following images we can see that curves can still be fabricated us-ing paper and that usually involves using longer strands that are not binded down by too many extra parts. Thus the simpler the pattern, the more fluent the curves will be.

Figure 3.2

Figure 3.3

Figure 3.4

Figure 3.5

Figure 3.6

Figure 3.1

PRECEDENTS -

3D PANELS & BUILDINGS

Figure 4.1Above is a building using open triangular prisms as its base panels. The idea of opening holes in the 3D panel is quite interesting and would be suited for our lanterns as the purpose is to allow light through.

Figure 4.2We often see these type of rectangular formed buildings and it is often due to its neat and stable appearance.

Figure 4.3Wall panels of Federation Square - the use of re-peated triangles to form the walls of the building, allowing irregular but minor variations in the surface, enhancing the uniquness of the unique building style as a whole. I’d like to be able to enhance on my model in the same way as the triangles have done for the building.

Figure 4.4Long disconnected ribs overlaying the walls of the building creates a sense of extension and adds some taste to the originally plain wall. While this type of paneling would be difficult to apply for the project, however, the shape and idea of elongating the model’s appearance is important to note.

There is a vast variety of possibilities when it comes to building with 3D panels, and it is hard to settle as to which ones are better and which ones are not.

However through the exploration of different types of 3D panels used in construction, you will notice the importance of the 3D panels and the way their shape is always fit with the building’s concept (e.g. sharp, edgey structures usualy use long narroaw tri-angular shapes whereas the corporate, neat business buildings tend to use cubic or rectangular shapes.

3D PATTERN EXPERIMENTING

Using the 3D custom paneling, I have experimented with different shapes based on the precedents I have mentioned previoiusly to see the way they appear on my model. The use of circular forms stands out the most, however the process of fabricating that would be too difficult as they barely join with each other by the edges. The pyramid one was based on the idea of using triangles for federation square and as expected the model appears very interesting but too rigid to be symbolic of the motion of wing flapping. The other two rib panels turned out to be very similar to the rib panels from the previous experiment with 2D patterns.

Of all the different forms tested on Rhino, I found that the flat surfaced nets tend to harden the appearance of my model in which was the opposite to what I wanted to show. While 3D patterns were very interesting and stood out, it was hard to create a custom 3D panel that allowed flexibility in the structure to curve smoothly without the need to increase the density of the structure. The rib panels surprisingly worked well with my model. Especially the diamond shaped panel, which is my final chosen design. While the pattern on its own is very simplistic, when applied onto the model, the curves and rotation of the model is projected very clearly, giving it an elegant appearnce. This not only covers the visual aspect where the rib panels extend and emphasize on the fluency of the curves, but also cover the meaning as the fluency is symbolic of how smoothly the birds’ rota-tional movement is.

Although there are some concerns regarding the way the model will hold itself up, its structure is buildable, with a few gaps at the bottom in which I will just connect together as Rhino won’t allow me to show that.

FINALDIGITAL MODEL

PROTOTYPESUsing three different types of paper I made a few prototypes to check out the char-acteristics of these paper types and to see which ones would be more suitable for the construction of my model.

Paper type 1- Light weight, cream col-our, thin, good for folding, less stable.

Paper type 2 - Hard, white, thick, good for making rib panels, difficult to fold.

Paper type 3 - Hard, black, thick, good for making rib panels, difficult to fold.

My final digital model has a closing point at the top in which I was concerned about as it may be difficult to close off with multiple strands of paper, thus I made the prototype on the left. By cut-ting on the sides of the strands I was able to join them together at the tip. I will use this method when making my actual model.On the right is a sample of the way the body of my model would be constructed (Also using the cut slot method). During the process it was very dificult to keep the pieces curving in the same direction, making the general shape a little odd. Otherwise it worked out well.

As paper type 1 is very light and thin, I thought it would be interesting to see the effects of it if I were to create overlapping swirls and curves, thus I made the two prototypes on the right. As expected, it worked out very well as we can see how the paper does not crease in rigidly, but rather, smoothly, forming an elegant overlaying effect. However this material may be a little too weak to be used for my model.

CRITICAL ANALYSIS

This module involved a lot of experimenting using Rhino in which was the main challenge for me. Due to my lack of knowledge in using the Rhino software, there was a limit to the elaboration and creativity of my experiments.I find it easier to communicate my ideas through drawings, but that said, Rhino does provide a much efficient way of calculating and setting up patterns onto our model figure, allowing us to get images of the results for each type of pattern panel.

As mentioned in our readings ‘Mathematics and the Sensible World: Rep-resenting, Constructing, Simulating’, mathematics and geometry are no longer ruled by structure, but is characterised by the existing computing technology in which we have now. Thus, it is vital that I familiarize with these types of softwares as it would allow me to more accurately present what I want to express through my work without being held back by my lack of technological skills. Luckily in this case, simple structures have come to be more suited for my model, thus I was still able to achieve the effects in which I was looking for.

REFERENCES

Figure 1.1 - Wolfram Mathworld, 2012, Tessellation, <http://mathworld.wolfram.com/Tessellation.html> Figure 1.2 - Deviant Art, 2012, Vector Tessellation, <http://amlam.deviantart.com/art/vector-tessellation-159429162>Figure 2.1 - Top10 Notes, n.d., Top 10 Most Beautiful Buildings in the World, <http://www.top10notes.com/most-beautiful-building/>Figure 2.2 - Geraldeve, 2011, image, <http://www.geraldeve.com/news-and-events/city-officeplanning-development-cocktail-party.aspx>Figure 2.3 - FreeFoto, 2004, 30 St Mary Axe Tower, London, < http://www.freefoto.com/preview/31-04-96/30-St-Mary-Axe-tower--Lon don>Figure 2.4 - Google 3D warehouse, 2010, 30 St, Mary Axe (The Gherkin, SwissRe-Tower), London, UK, coloured/untextured, < http:// sketchup.google.com/3dwarehouse/details?mid=781ce1834d20d5957535eedf3ecccc95>Figure 3.1 - Guided by Invoices, 2011, Earthtone series, < http://guidedbyinvoices.us/artists/erik-and-martin-demaine-work.html>Figure 3.2 - Guided by Invoices, 2011, Two-tone series, < http://guidedbyinvoices.us/artists/erik-and-martin-demaine-work.html>Figure 3.3 -Nana Adwoa Sey, 2012, image, <http://nadwoasey.com/?cat=1>Figure 3.4 - Flickr, 2012, image, < http://www.flickr.com/photos/25031161@N00/2070313982>Figure 3.5 - Inhabitat, 2012, Richard Sweenley Paper Sculpture, <http://inhabitat.com/richard-sweeney-paper- sculpture/206943734_872c7651fa_o/>Figure 3.6 - Inhabitat, 2012, Richard Sweenley Paper Sculpture, <http://inhabitat.com/richard-sweeney-paper- sculpture/206943734_872c7651fa_o/>Figure 4.1 -Flickr, 2012, image, < http://www.flickr.com/photos/halfadrop/70678992/>Figure 4.2 - Luke77, 2009, image, < http://luke77.com/sf-in-50mm/>Figure 4.3 - Canstock photo, 14 April 2012, Building Facade pattern, <http://www.canstockphoto.com/building-facade-pattern-0547110 .html>Figure 4.4 - rgbstock, 2010, Geometric window pattern, < http://www.rgbstock.com/photo/mrkXjN2/geometric+window+pattern>

Wikipedia, 11 April 2012, Tessellation, <http://en.wikipedia.org/wiki/Tessellation>


Bhargav Sridhar - 585591


Semester 1 - Module 2: Design - Group 15


Previous Module Recap

Module 1 consisted of mainly the exploration of a chosen natural process and the process of relating the principles of the process to a lantern concept.

My chosen natural process exploration was the phenomena of pollinating flowers that open at dawn and close at dusk in response to the sunlight. I also explored the petal arrangement of the rose in brief and I have also chosen to implement that principle in my lantern concept.

My final model is to be mounted on my shoulder and will reach down to my elbow. In this module, I am hoping to transfer my final 5:1 scale model into rhino and further develop it using paneling tools.


Precedents - Wearable parametric design

Before I proceeded with the contouring process, I was curious about the purpose of this subject of parametric design, what was the reason for designing such an abstract work and is it done in the real world as an aspect of fashion. I was also curious as to if it is even possible to wear such intricate pieces of design that is rigid and stern. Therefore I began exploring the idea of wearable paramentric designs and the implementation of such principles in the real world.

This particular design titled ‘Armature’ by architect, Mehrdad Yazdani was presented at the international seminar ‘Celebrate: Wearable Ar-chitecture and Design 2012’ which was held in Los Angeles, California this march. Armature aims to explore the variable relationships be-tween clothing and body. It is a literal or abstract framework for expres-sion and can be work over or under garments. It is composed of acrylic and metal friction fit repetitive elements.

What I find most interesting about this design is that it breaches the possibilities in the fashion industry and links both fashion and parametric architecture in a single piece of clothing that can be worn comfort-ably. This gave me a much better understanding as to the possibilities and the purpose of the virtual environments subject as it links various design desciplines to form a piece that is out of the ordinary.

Right: The ‘Armature’ by Mehrdad Yazdani which combines fashion and parametric design principles. Source:- http://www.yazdanistudio.com/blog/2012/03/07/celebrate-wearable-architec-ture-and-design/


Contouring Process - Producing the contour lines

Following the instructions on the LMS, I began my contouring process by ruling lines 5mm apart on a piece of paper and then redrawing the lines on my model. These lines represented the curves that I will have to loft on rhino. This meant that I had to be mindful about where the lines were in relation to my overall model in order to achieve the form that I desire.

I took photographs of various angles of the model to be used as reference images on rhino as I attempt to remodel and reshape the model using the software.

I wasnt worried about the scale overall as I was aware that I will be able to adjust the scale as I wish using the software at a later stage.

However, my lack of precision while modelling using the plasticine made me wonder as to the level of accuracy I will obtain using this process of contouring. Nevertheless, I proceeded with this process out of sheer curiosity.


Contouring Process - Cutting and Tracing the curves

I proceeded to cut the individual sections out and lay them out onto a piece of paper. I also labelled them 1 to 15 in or-der of sections from one direction.

I traced around the edges of the sections to observe the curves. As I had expected, the curves were very rough due to my lack of precision during the plasticine modelling pro-cess in Module 1 and did not show enough detail of the form intended. This meant that I would have to use various refer-ence images to accurately reshape the curves in order to produced the desired loft.

I scanned the traced curves onto rhino to be retraced us-ing the ‘control point curve’ tool. I also scanned, scaled and placed the images of the side and top view of my plasticine model on to rhino, to be used as reference imagery.


Contouring process - Tracing and Aligning the curves in Rhino

I aligned each of the curves traced and scaled them individually to somewhat fit the contour lines displayed on the reference images. The move tool in combination with the Orthogonal snap or ‘Ortho’ snap allowed me to organise the curves smoothly without deforming the overall structure.

I also had to manually adjust the shape of the curves by turning the control points on and manipulating each control point on the curve. This added a bit more definition to the form, however only to a certain extent.

I was begining to realise that this process is more time consuming that I had originally perceived and my complete lack of knowledge and skill in the use of the commands on rhino was begining to hinder the speed and efficiency with which I can produce my model virtually.


Lofting and Modifying

Then came the process of lofting. It took me a few different attempts at the command to get a clear understanding of different loft styles. However, the result was just plain ugly.

The form lacked uniformity and symmetry that I had pictured in my mind. Even after various attempts at the moulding the surface using the control points, I was struggling to obtained the shape and form of the model that I wanted.

I wanted more definition in some areas particularly at the edges of the petal like sections. The pointy end of the model did not look too appealing either. Overall, I felt that this form would be too tedious to manually adjust and wont be the ideal surface upon which I can generate my panelling ideas.

Upon further discussing with my tutor, I had decided to abandon this method and attempt to produce a new set of curves that I may loft.


Rethinking and Retrying - Alternate Curve Arrangement

I decided to use one of the curves as a basis of generating the others. I proceeded to use the scale and copy command to generate the curves and arrange them in the order that I wanted them in.

The addition of more curves allowed more definition in the desired re-gions. This allowed me to control the uniformity and aspect of symmetry in my model design.

This method also allowed me to control the scale and amount of detail for each petal-like section individually as I also felt that I was able to en-sure that the panelling process can be undertaken individually for each section.

The pointed end of the model was now designed to be level with the other curves as it did not look too appealing when it was suspended. Once again I blame my lack of precision while producing the plasticine model in the previous model.

At this stage I am very confident of the results and I feel that I am back on track in terms of achieving the desired outcomes in accordance to the deadline by which I must present my progress in this module.


Rethinking and Retrying - Alternate Loft Arrangement

I proceeded with the lofting process in sections and then attempted to join all the pieces together. The process consisted of one smooth loft for each petal like section followed by a sharp edge where there was a single flat loft.

The degree of the flat loft gets smaller and smaller as we go towards the pointy end of the model. This meant that I couldnt have the 7 seperate sections that I originally designed as it was very complex to produce at very small degrees. Therefore I merged the last few sections into 1 sec-tion making it 4 seperate sections instead of 7.

The result appeared very promising as I was able to achieve the form that I had originally pictured in my mind. There was a high level of uni-formity and symmetry accross the whole model and I was begining to find good progress in my design process in this module.


Rethinking and Retrying - Problems

However, upon closer observations, I noticed that there were various leaks (open spaces) and inappropriate folds. My attempts to manually fix these issues seemed to consume a lot of time. I began falling behind where I should be in regards to the design process towards achieve the desired outcome in time.

I had to rethink and come up with an alternative that would be much more simple to model with my beginner level knowledge and skill with the software while maintaining my original design intentions. After various long discussions with my tutor, I decided to create a continuous loft of a smooth arrangement of curves thereby abandoning the structure and form that I produced at the conclusion of the previous module.

At this stage, I felt highly tensed by the aspect of designing and learnt a few interesting lessons in regards to the pressures of designing in the real world situations where deadlines of clients or customers are more important than the small details of the design that could otherwise, be avoided.


Third Time Lucky?

My third and hopefully final attempt was to delete uneccessary curves to produce one smooth surface instead of the seperate petal-like sections.

By this stage my knowledge and skill with basic commands in Rhino had become more coherent. This increased the speed at which I used the software in comparison to the start of this module.

After discussing with my tutor about this alternate shape for my lantern concept, I became much more confident that this form will be ideal for panelling and I would not have any issues in regards to the overall structure of this surface (no leaks and twists)


Panel Design Precedents - The Eden Project: The Core

Goin back to module 1, I decided to continue with my exploration of the panel designs exhibited in The Core which is part of The Eden Project in Cornwall, United Kingdom.

The varying degrees of elevation of the panels as seen in the adjacent photographs suits my natural process where I must display the varying degrees of opening and closing of flower petals in corresponding to the level of light it is exposed to. In terms of lighting, The variety of panels allow a varying degree of light to be produced.

These panels also appeared to be simple enough to replicate and modify using rhino, even with my limited knowledge of commands. Right: A model representation of the

education centre. Source:-http://plus.maths.org/content/bridg-es-mathematical-connections-art-and-music

Below: The Eden Project: The Core.http://commons.wikimedia.org/wiki/File:Above_the_Core,_Eden_Project,_Corn-

wall_-_geograph.org.uk_-_1037955.jpg


Panel Design Precedents - Cathedral of Christ the light

Another work of architecture that inspired my panel design is the world famous Cathedral of Christ the Light situated in Oakland, California. With its completion in 2008, the architects at Skidmore, Owings & Mer-rill have created a modern design for the Cathedral of Christ the Light with the careful consideration of space and light.

The same varying degrees of panels can be observed in this construc-tion. The wooden grids display the panels in a way where the panels at the bottom are relatively closed as compared to the panels at the top of the wooden grid which are more open therefore allow more light. The construction depicts the motion of ascending to the heavens through the varying degree of light passes through the panels. As you reach the top of the structure the intensity of light increases.

While these architecturally inspired panels allow light to illuminate the internal spaces, the same idea can be used to generate the opposite. The panels applied on the lantern design will illuminate the external spaces .

Right: Interior of the Cathedral of Christ the LightSource:-http://www.trendir.com/ultra-modern/cathedral-of-christ-the-light.html


Panel Design Process - Generation

I proceeded to design my panel by using basic shapes like rectangles. I also used the command extrude to curve to pro-duce my first design for my panel. However, this design exhib-ited areas which were doubly curved which is very complex to fabricate and fold.

My tutor suggested I retry using triangles and the command extrude to point. I was successful in producing a working panel that I could now further develop.

However when I multiplied the panels to form strips I noticed that the each of the strips were joining at single points. While this may seem to be working in the software, my tutor pointed out that this is difficult to produce in actuality. This meant that I had to re-design it so that the panels join at regions that are linear and can also be tabbed for the fabrication process.

I was eventually successfull in producing a panel that was approved by my tutor as a working panel and could easily be unrolled, cut and joined together in the fabrication process.


Panel Design Process - Development in relation to natural process exploration

I have then begun modifying the degree of the opening of my panels to produce 4 different sets of panels. Once again I used the control points to adjust the degree of opening of each panel type. The most open panel signified the region that is most exposed to the light. Co-incidently these panels will allow the most amount of light to be passed through. The second set is relatively closed and the third set is open only a lit-tle and so on. The completely closed (flat) panels will signify the regions completely blocked away from the light which means that they will allow no light to pass through.


Panel Design - Prototyping (fabrication)

My tutor suggested I prototype my panel designs to obtain a better understanding of their effects with light and also to get an idea of the fabrica-tion process and how I may go about it. This pro-cess of prototyping also tested the amount of fold lines that I may require during the assembly pro-cess.

Following the instructions on the LMS I set up a fabrication file that could be sent to the Fablab to be processed and cut out. I didnt worry too much about the tabs and the detail of the fold lines for now. I used Ivory card in this prototype as it was the most common material and seemed to be an ideal material for a small scale design like mine.

After I constructed my prototype, I got a clear understanding of which fold lines to include and which to remove for when I next set up a fablab file. The prototype was a rough representation of my overall model, however, man-aged to maintain the basic idea of my panelling intentions. I was suprised to see that the structure of the panels held itself together without any addi-tional internal support.


Panel Design - Prototyping (Lighting)

I used an LED torch at one end of the prototype to illuminate and observe the effect produced as a result of my varying panel shapes. In the fabrication module I will use LED lights as instructed in the design constraints and limitations.

The effect produced by the prototype was mostly as expected. the greater the opening of the panel, the more light was ejected at that region. However, I did notice something that was even more in-teresting and was unexpected. When I placed the prototype infront of the wall the image shown described a section of the petals of the flower. It was definately very intriguing as I did not think of what the effect of the lights produced on a screen may display. I defi-nately liked this panel design as it is simple, yet is able to signify the principles of my natural process exploration.


Alternate Panel Design Proposal - Precedents

My tutor now suggested that I explore another panel design that could be an alternative to my orginal design. While explor-ing the resources available on the group wiki, I stumbled onto a page where a designer exhibited his own explorations with rhino. He intended to use this curved panel to produce a con-tinuous surface.

Though I was unable to use curved surfaces or one complete surface of panels, I decided to replicate his panel design and further modify it myself using my limited knowledge in nurbs modelling.

Right:- Explorations using rhino to generate surfaces.Source:-http://madeincalifornia.blogspot.com.au/


Alternate Panel Design Proposal - Generating and Developing

I proceeded to replicate the idea that I observed from the explorations above by using my own original design. I rotated and mirrored the panel to form this alternating arrangement.

However, I felt that I could further modify this design to add my own design-ing implications to it. I decided to cut of a section of the section that opens out. this forms another opening through which light may pass. However, this created the issue where there were 2 sections that were joined at a single point.

To counter this, I added another cuve that joined the to sections and used the extrude to point to form a surface that now joined the 2 sections.


Alternate Panel Design Proposal - Final

Finally, I extended the tip of the opening (using control points) horizontally to add to the variation as I then compared this panel to my original panel style.

When I unrolled the panels however, I noticed that the unrolled surface was not joined completely. This then meant that when I fabricate these panels, I may have to manually join the sections of each panel individually which would then take more time.

I also preferred my original design as I did not want to overcomplicate my lantern concept and pos-sibly cause future issues, especially during the fabri-cation process.


Panelling Process - Creating multiple paneling grids

My panelling approach involved creating three different set of grids to produce a variety of sizes of panels. The denser grid as seen above has 20 spans in the u-di-rection and 5 spans in the v-direction. This allows me to generate small and dense panel arrangements to signify regions that contain ‘small petals’

The medium-sized grid as seen above consists of 10 spans in the u-direction and 5 spans in the v-direction. This allows for generation of a rela-tively large panels that signify the regions that contain ‘medium-sized petals’

The large-sized grid as seen above consists of 5 spans in the u-direction and 5 spans in the v-direction. This grid produces large panels that signify the regions that are most exposed to light and contain ‘large petals’.

The use of panelling tools to produce the variety of grids was easy and I gained valuable insight into the principles of this particular set of commands in rhino.


Panelling Process - Panelling all four panels and merging them manually

After producing four different sets of panelling arrangements I turned the snaps on (as my tutor always told me “Snaps are your friends”) and manually moved the panels into place and deleted the ones that were not required.

The gradual decrease in panel size, degree of opening was evident and so was the gradual increase in the frequency of a particular type of panel (from left to right according the images below). Since the region un-derneath the top section of the lantern would be, I used the small flat panels in the panelling of the bottom region. This also created a relatively smooth surface for my shoulder to fit inside.

I was quite content with the overall arrangement of the panels as it was once again a simple but efficient method of representing my natural process exploration.


Further Development - Modifications of the basic form and addition of light filtering elements

There were things that I had not addressed before that I was forced to at this stage upon reaching the completion of my panelling process. The larger side of the design was still left open and therefore was not ideal from a design perspective. I decided to patch this up using the polyline tool and the ‘patch’ command. To further enhance the aes-thestic value of this section of the design I decided to use a light filtering material such as a semi trans-perent sheet of polypropelene. This would allow the intensity of light to spread over a larger surface area and is also a common feature of a lantern. It would also serve the purpose of concealing the inside of the lantern.

The pointy end of the design was still not ap-pealing to me from the design perspective. I also felt that, this region will be quite a chal-lenge to fabricate due to the overall scale of the lantern which is quite small. Therefore, I cut a small section out and replaced it with a similar patch as the section on the other side. This too was to be made out of a semi trans-parent polypropelene sheet. This meant that light could be filtered through both ends of the lantern and is more aesthetically pleasing.


Lighting and Filtering - Precedents

Right and Below: Examples of paper lanterns that display the potential of light filtering.Source:- http://www.ronenbekerman.com/braintrust-session-2-hill-chapel-by-andri-ini/

I explored the concept of using semi trans-parent materials in the design of lanterns. I found various examples of paper lan-terns in which the material used is both a structural factor as well as a method of producing a particular lighting effect. The intensity of light can be controlled by using such materials. The degree of transparency directly affects the amount of light that can be filtered through. It is both a simple and an efficient use of material to gener-ate smooth lighting effects by reducing the harshness of most bright lights such as com-mon bulbs and LEDs. The lantern on the far right is made out of a material similar to polypropelene sheets and can be seen to dull out the brightness of the light source to produce a smooth even effect.


Lighting and filtering - Prototyping

I was able to aquire a couple of sheets of polypropelene sheets that were available for free at the fablab. I manually a piece that could fit one of the ends in my panelling prototype.

Once again, I used an LED light source, similar to what I will be implementing in my final lantern fabrication, to observe the effects of the light when it passes through this material.

As expected, the material partly allowed the light to pass through but also spread the light evenly accross its surface area. This pro-duced a smooth lighting effect, which I liked very much. It is used commonly in lanterns as another means of controlling the amount of light exhibited by the light source.


Panelling Process - Issues

Once again, as I closely examined my design on rhino, I noticed irregularities in the model. For some unknown reasons, the panels did not seem to join each other though I positioned them exactly where they needed to be.

This frustrated me greately as I was forced to manually join the panels together to ensure that they joined each other at precisely the right points.


Final model

At long last, I was able to succesfully construct and panel my model using rhino. I have produced orthogonal and isometric views of my design to accurately display and describe the different sections.


Final Model (sun lighting)

I found an interesting lighting command that applies sunlight onto my final design. This allowed me to accurately represent my natural process exploration and its link to my lantern concept design using rhino.

Once again I have produced orthogonal and isometric views to accurately display the design for my lantern concept.


Precedents - Fermid

I stumbled onto this marvellous piece of design while looking for inspiring panelling works. This particular object titled ‘Fermid’, is a kinetic sculpture that uses technol-ogy and parametric design principles to explore the natural movement that can be found in living organisms and its relation to human perception.

The technology allows the panels to open and close to simulate breathing and is also sensitive to touch. Lighting is also combined with technology to further enhance this simulation of a real living organism.

I was absolutely fascinated with this combination of technology and design, which gave me an understanding of the immense possibilities that can be achieved given the knowledge, skill and availability of resources. Ideally I would have liked to de-sign my lantern to be similar to ‘Fermid’. However due to time constraints and limited technology and resources, I am unable to develop my lantern concept to such a high level of dynamism

Above and Left: The Fermid.Source:- http://behnazbabazadeh.com/Fermid


Critical Reflection


This module was quite challenging and a steep climb in terms of the tasks that were to be completed. To be exposed to a highly complex modelling software such as Rhinoceros with no previous background in the field did not ease the burden of the design process.

The process of digitizing the plasticine model from module 1 was very tedious and time consuming. At many stages through the process, I was forced to reconsider and simply my design in order for it to be accurately modelled and developed using my basic knowledge and skill with the software.

The discussions with the tutor along the way proved to be of vital importance as I relied on the guidance of the tutor to gain a better understanding of my ap-proach using Rhino as a designing tool for my lantern concept. As I progressed my skills with Rhino and the speed with which I was able to manipulate my design increased.

The lectures were quite interesting through module 2 as various designers from different disciplines show-cased their work and their approach to the design process.

This module taught me very important lessons in re-gards to considering the time constraints as a vital factor in influencing the design outcome. The level of complexity of the design must be able to suit dead-lines. I understand that these lessons will apply in my future endevours as a designer.

Student No: 590473 Semester 1/2012 Group 7

MODULE 2C A L L U M M O R R I S O N

DIGITIZINGM O D E L P R E P A R A T I O N

Examining my final model from module 1 I began considering possible methods that could be used to turn it into a working digital model. This consideration was no short process and resulted in me spending a great deal of time researching and looking at examples for ideas and inspiration. The reason I struggled so much with my model was that there was no single plane which you could examine it on. So, when attempting to dissect it into cross sections or trace a path to sweep along there was no easy or obvious way to go about this due to its multi-planar design.

Despite all the possible complications I decided to use cross sectional dissection (contouring) combined with

orthographic referencing to digitize my model.

Fig. 3

Fig. 1

I began by drawing contours on my clay model at 0.5cm intervals. This is quite a small sampling interval, but I thought it was necessary due to the

number of curves and complexity of my model. One other adjustment I made to accommodate the multi- planar form of my model was to

have the contours follow the curves around, rather than have them all orientated in one direction (fig. 1).

After the contours had been drawn on I went about taking a set of orthographic images to use as references for my contours (fig. 2). It was

imperative that all angles were captured as these images should allow me to orientate my two-dimensional contours around the curved forms in my

design in Rhino’s three-dimensional workspace.

The next stage in the digitizing process was to dissect my model along the contours I had drawn. I found these contours could more or less be

grouped into four individual segments that form the model as a whole. This segmentation could prove to be easier when modelling the form in Rhino, so I decided to keep the contours arranged in these four segments (fig.3).

Fig. 2

DIGITIZINGC O N T O U R M A P P I N G

Moving into Rhino I began by tracing my contours from the birds eye image I had taken of them. Immediately, I was met with what would be an endless raft of problems. I realised that the contour sections were not completely flat shapes but the segments that formed the curve were actually slightly angled, thus leading to a parallax error when tracing these segments. Sadly, there wasn’t a lot I could do to resolve this issue so I attempted to take this error into account and adjust accordingly. Once I had finally traced my contours I set up a box of my reference images (see below) and began trying to map my contours to these references.

Using my orthographic images as a reference for contours proved to be reasonably successful.

However, much like the image of the contours, my photos were not all at precise right angles to the

model so I was again forced to allow for this, adding a further source of error into my digitalization.

When I finally lofted the contours, the errors showed, with the resulting form bearing only a basic resemblance to my

model (fig.1). So, to fix this I was forced to manually adjust my contours to loft a better form. Eventually, after a painstakingly

long time, ending up with the form shown long the bottom (fig. 2).

Looking back on the digitization process, in hindsight, I wish I had spent more time perfecting my model and ensuring my

reference images were taken at exact right angles to their respective planes. I now realise that whilst, individually, these

appear to be only small errors and uncertainties, they very quickly add up resulting in a compromise in the integrity of

the final form.

Fig. 2

The first loft of my contours. You can see how the small inaccuracies and estimations I was forced to make in coming to this stage have accumulated and the resulting errors can be seen as a visual manifestation on the left. However, the basic form is still evident and given the complexity of the original form, and my inexperience with Rhino, it is appears to be a good start point for future development.

Fig. 1

DIGITIZINGR E M O D E L I N G

Taking my previous model I decided to do a quick panelling experiment to ensure that the current form would work before preceding with the final refinement and smoothing of it. The result of this experiment was a long way off what I had hoped for. I attempted a simple 2D (fig. 2) and 3D (fig. 3) panel with the resulting forms a disastrous entanglement of shapes. So, I set about discovering the cause of this problem and remodelling my form to avoid it before continuing.

After a degree of experimentation, and trial and error, I found there were two main issues with my model:

• The layout of the grid points (fig.1)• The base in the centre of the circle was left as a

“naked edge” so was attempting to join with the point of the spire (fig.3)

Fig. 3

The Layout of the Grid PointsIf we examine fig.1 it can be seen the grid points are

spread over the surface of my form with a lack of order or consistency to them. There is also a lack of

control points around the front base area, this should explain the lack of definition it has in the 2D panel.

To remedy the distribution of grid points I decided to remodel the base area, without having the points

originate from a central node but come around in more sweeping motion.

The BaseI originally set about closing off the base object but

then noticed that having the base as part of the main object meant it would be panelled just the

same, which I did not want. So, I decided to remove the base and add it later if it was needed to make

the model stand up.

When remodelling the base I took the issue with grid points into consideration and tried sweeping a contour around the curve of the base. This worked

far better, producing a much cleaner and better defined form (fig. 4).

Fig. 2

Fig. 4

Fig. 1

DIGITIZINGR E F I N E M E N T

After remodelling the form of my design the next stage was to refine this form so that it may be easily panelled. The first obstacle I had to overcome to achieve this was joined my four segments. As mentioned previously, my final form is constructed of four segments all fitted together. Whilst this was convenient during construction, when it is panelled as sections there are gaps in the panelling and inconsistencies in the number and size of panels (fig.1). Sadly, much like the rest of the digitizing process, this was not as simple as it sounds.

Fig. 1

When I attempted to join the surfaces I found it had no affect on the panelling grid and the only way I could seemlessly join my segments was using

the “mergesrf” command. However, this command matched the vertices on the surface to each other and my vertices were not aligned, thus the resulting

join was a twisted mess.

To overcome this hurdle I began to edit the control points on my surfaces and gradually began to line up the vertices on the surfaces (fig. 2). This

also allowed me to fiddle around with the rest of the surface smoothing out creases and making slight modifications to the form of the model.

After I had polished off and merged the four segments I noticed that there were still inconsistencies in the distribution of the vertices along the surface,

resulting in an uneven grid. So, I decided to “rebuild” the model using trial and error to determine what number of points on the “U” and “V” formed the best

grid (the development of the model can be seen below, fig. 3)

Fig. 2Fig. 2Fig. 3

DIGITIZINGF I N A L F O R M

After the extensive process carried out to reach this point I am reasonably happy with the final product. The digitized model, I believe, ended up as a good representation of my original form, though there was a great degree of trial and error involved rather than a watertight stepped out process. These challenges I faced did highlight some of the possible limitations of digital modelling, but its strengths also shone through, in that I was able to fiddle around and try these modifications to my form easily and relatively quickly.

Fig. 2

Final Model with Grid Points

PROTOTYPEC O N S T R U C T I O N

Given the difficulty I had digitizing the model I thought it would be prudent to make a quick mock up of its basic form and experiment with possible construction styles and materials to see whether it is actually buildable, simultaneously seeing how it sits as an actual physical model. Right from the outset I realised that the major challenge I would face in construction would be getting the model to hold its shape. To overcome this challenge, for my prototype construction, I decided to build the model out of number small tubular paper sections that I then attached to a wire frame (fig. 1).

Fig. 3

Fig. 2Finished Prototype

Fig. 1

Using the wire as a central frame I found served two purposes. It allowed me to mold the ruff shape of my form before worrying about it in its entirety. Secondly, it served

as a base structure that allowed me to easily add the body of the form onto it (fig. 2). Using an internal skeletal

structure should definitely be considered when I move to the construction phase.

Examining my finished prototype I found two main problems with the design:

• The stability of the model. If I had the spire as far back as originally planned the model would not be able to stand

up. This could have been due to the relative weight of the wire to the paper but nevertheless should be kept in mind

for the future and a counter weight might possibly need to be inserted into the base.

• There was limited room on my model to fit a foot through (as per the original concept). However, I am finding the

model almost looks more effective as a freestanding object than it would

with a foot through it. Which ever I choose, the

prototype has shown me that a quick scale

mock up allows far better assessment of the

pragmatics of the model and should continue to

be used through out the construction process to avoid unnecessary time wastage due to lack of

testing.

Fig. 2

PRECEDENT

On a further note, “Solar Shift” also makes effective use of light as a means to communicate its conceptual

grounding. The panels all operate as individual lights with their own sensors. These sensors pick up movement and

adjust their brightness in relation to the movement of the people inhabiting the space. Collectively, this will appear

to a passer-by as the sun moving across the sky. This use of lighting demonstrates an effective way in which light may

be used as a catalyst to form in visual communication and, even more specifically to my design, serves as an

example of how individual components may work to together to form a whole and adapt to stimuli in the

environment.

If we consider the evolution of the installations form (fig. 1), we are able to see a process very similar to that which

I have already undertaken. The original solar path data has been examined and abstracted to create a digitized

surface. This digitizes surface has then been modified by parametric design software to create the triangular

surface we see as the final design. It is this last step that is of most interest to me, especially how the addition of panels

has turned a theoretical and unpractical design into something that can quite manageably be constructed;

I actually find the panelised form more aesthetically appealing than the original surface. It is this transformation

and grounding of a concept into the physical world that should act as a benchmark for me as I attempt to

accomplish the same feat in the next stage of my design.

Moving into the panelling phase of the project I decided to examine a precedent that demonstrates how parametric modelling can enhance a design.“Solar Shift” is a proposal for an exterior light installation by PROJECTiONE LLC. The concept of this installation is to create a representation of the suns path through Evansville, Indiana that is communicated not only through its form but also through light and how it interacts with the viewer.

S O L A R S H I F T

Fig. 1

PANELING2 D E X P E R I M E N T A T I O N

After analysing the panelling process used on “Solar Shift” I began experimenting with how panelling could be used to enhance my own work. I began with just looking at basic 2D panelling forms to see how the panels interacted with my model and to familiarise myself with the process. I experimented with using different grid densities that changed how well defined my form was (left side higher point density, right lower). I probably slightly preferred the lower density grid renderings as they were not so complex, and hence, should be more practical when it comes to the construction stage.

Fig. 2

Basic 2D Tri Basic Paneling

Basic 2D Triangular Paneling

Basic 2D Tri Basic Paneling

Basic 2D Angled Box Paneling

PANELING3 D E X P E R I M E N T A T I O N

Continuing my experimentation with panelling tools I began to look at 3D panelling. However, I didn’t find this three dimensional panelling worked as well as the 2D panelling. I think this was because of the increase in complexity of the 3D panelling, and given that my form is already quite complex, I found that the 3D panelling detracted from the form itself. Having said that, I did like the effect created by the finned edges and would be interested to see light reacts as it pass through it.

Fig. 2

Basic 3D Wedge Paneling Basic 3D Box Paneling with Fin Edges

PANELINGC U S T O M E X P E R I M E N T A T I O N

After my experimentation with both basic 2D and 3D panelling I began to try my own custom panelling. I decided to be a bit less pragmatic with this experimentation, trying forms that would be impractical to make, but are aesthetically interesting. I was extremely interested by the patterns and textures created by the panelling and how light might interact with it.

Fig. 3

3D Panelling- The circular appearance ties in nicely with the form as a whole.

3D Panelling- I like the ruggedness of the surface, it gives a sense of conflict and unease.

2D Panelling with Finned Edges- There is a sense of organised chaos with this panelling, that I find both intriguing and slightly disconcerting at the same time.

2D Panelling with Offset Boarders- This is probably my favourite design. I like the contrast between the base and the spiral, especially how it is a gradual change; picks up on idea of adaption.

PANELINGR E - E V A L U A T I O N

Examining my panelled models so far, I feel there has been a loss of the central concept that I strived so hard to create in module 1. I find the uniformity of the panelling too harmonious in appearance causing the metaphorical antagonistic conflict between the natural and man made to become lost. So, in an attempt to steer my design back towards this underlying concept I went back and examined the reading “The Shape of Things” (Ball 2011).

In his text Ball explores the visual associations we make to the natural and man made. He suggests that we are inclined to associate curves and more random/

organic forms with the natural world and more rigid and angular forms with the man made. If we consider how this can be applied to my design then an antagonistic

conflict between the angular and curvaceous could prove effective.

This conflict between curves and regularity, or the natural and man made, could be communicated in my model by panelling the model in different sections. This is where having constructed my model in sections may actually prove useful in that I could experiment with panelling the base curve in an angular fashion and then

contrasting it with the accentuated curves of the spiral. I used panelling tools to try achieve this effect, some examples of my experimentation are shown in fig. 1.

I also think that how light interacts with the form can be used to portray this concept and I need to be careful I don’t become to focused on trying to achieve everything

with the physical form of my design but also realise the potential that light has to convey ideas. An examination of precedents should be conducted to further my

knowledge in this area.

The images above and below are exerts from Ball’s article and serve to demonstrate the contrast between natural and man made forms. Note the organic and flowing nature of the shell compared the angular more symmetrical star.

Fig. 1

PRECEDENTT H R E E B A S K E T S O F K N O W L E D G E

Considering how light may influence my project I began looking for inspiration in installation artwork involving light and its interaction with form. Of the examples I looked at it was David Trubridge, a fellow New Zealander, whose work I have actually seen exhibited back home that I found offered the most inspiration. More specifically I found his piece the “Three Baskets of Knowledge” the most interesting, especially how he had used different densities of materials to achieve different effects.

When I first saw this installation I was amazed by how sharp the light was, it wasn’t until I looked at it more closely that I realised there was a thin transparent material draping

down to the wood patterning that was creating the sharp edge. I found this to be a great example of how materials can enhance design and create effects that trick the eye. I

should definitely consider using varying transparencies with my design.

The other facet of this work that I found intriguing was the textures produced by the shadows. Not only are these shadows intricate in their patterning but they are also not confined by dimensionality with the shadows appearing as a different and unique 2D image, when compared to the baskets. This playing with shadows and transparency

provides a far larger pallet of ideas that I can explore with my panelling.

PROTOTYPEL I G H T I N G

After my examination of Trubridge’s work I decided to have my own play around with using light to create patterns, shapes and distort perspective. I began with my first prototype and experimented with how the light passed through the circular rings and the effects it created. I then progressed on to exploring how perspective may be challenged with light and how I could try and integrate these factors into my panelling.

Fig. 3

Fig. 2Fig. 2

One of the interesting effects I was able to achieve with my experimentation

was the appearance of layering. If we examine fig. 2 you are able to see the

different intensities of light projected back onto the wall, as well as the

variation of scale . The combination of these two effects, I feel, leads to a sense

of complexity and layering that I would like to attempt to integrate into my

future design developments.

Using my original prototype as the basis for my experimentation worked well as I was already familiar with its form. One of the main things I noticed in my

experimentation with this form is how important the placement of the light is (fig.1). Placed incorrectly the light appeared to almost work against the form. Based on

this observation, I think I will need to use multiple lights inside my model for the final design.

Fig. 2

Fig. 1

Fig. 3

My second experiment, attempting to replicate the distortion of perspective that Trubridge achieved, was useful in that it allowed me to realise that there is only a certain degree to which you can predict how light will interact with an object. I noticed that even small variations in the orientation of my paper patterning produced large changes in the projected forms. This gave me a realise appreciation for Trubridge’s work and how he managed these complications with his chosen medium, as well as cautioning me from attempting to achieve too much through manipulation of light.

If we now examine fig. 3, what I find intriguing about this image is how despite the flat appearance of the paper patterning the projected form appear to grow exponentially in size and decrease in intensity. This gives the impression of depth in what is otherwise a flat object, tricking the viewer with the distortion of ones perceived perspective. It was this affect on the viewer that Trubridge achieves so perfectly in his installation.

PANELINGD E V E L O P M E N T

Given my re-evaluation of the direction I want my design to go and the preceding precedent research and prototype experimentation I can now start to narrow down my exploration of ideas and develop them into a more specific outcome. From the above process I have come to the conclusion that my design must attempt to meet as many of the following criteria as possible:• Communicate a conflict between the base and spiral or the model, possibly through use of

contrast in panelling (curves vs angularity).• Retain a degree of simplicity in the panelling so as to not distract from the form itself.• Communicate a change or adaption as you progress of the model.• Interact effectively with light to enhance the communication of the underlying concept• Keep in mind that the model actually has to be built so a degree of pragmatism must be

maintained.

This form meets a number of the criteria above, however, I still feel it is too uniform. This uniformity does, however, create a nice flow throughout the model and conveys the concept of adaption nicely with the gradual reduction in the number of cutout panels. The question remains however, is a good flow the message I am after? This is supposed to communicate an antagonistic relationship, intertwined in conflict, not a harmonious one. So on this criteria I think it fall too far short.

I feel this form very effectively communicates my underlying concepts. The contrast between the square cutouts on the base, which has an almost structure like appearance, to the curves of the spire is the message I was hoping to convey with the panelling. My only criticism of this form would be how boxy the spire is. Some refining of grid point placement could possibly fix this.

FINAL DESIGNO R T H O G R A P H I C D R A W I N G S

My final form is a refinement of the second development on the previous page. I decided to go with this form because it communicated my concept so effectively. My final form is slightly more complex than this original development with a greater density of squares and with random sizing on the insetting of edges. I found this randomness conveyed the conflict better than the regular pattern in the development.

RIGHT

Fig. 2

TOPFRONTBACK

Overall I am pretty happy with the final form. The only change I might possibly make during fabrication would being to reduce the number of

cutout surfaces to enhance the light effects and increase the stability of the base and possibly try having even more variety in the panel sizing, with the

base ones being possibly larger (more like the development).

FINAL DESIGNL I G H T I N G V I S U A L I S A T I O N

Given the important role the consideration of lighting played in the design process, we must now examine how my final form interacts with light. Overall I am very happy with the interaction between my form and light. I think there is a nice blend of inset edges and full panels that in turn create a nice range of shadows and projected light forms (bottom right). For future development fewer inset panels of the base could possibly emphasis the projected light forms, due to there being less of them, but this is a minor concern.

Fig. 3

Fig. 2A render showing the model with both interior lighting

A render showing the possible light form projections from two interior lights

REFLECTIONA N A L O G U E A N D D I G I T A L

After remodelling the form of my design the next stage was to refine this form so that it may be easily panelled. The first the rest of the digitizing process, this was not as simple as it sounds.

It has been said that the 21st Century is the digital era. Everything around us it moving from analog based systems to digital ones, including the system that concerns us, design. It is the apparent metamorphosis of

design from a historically analog based practice to a digital industry that has created a conflict of opinions as to whether this change should be held in check or allowed to continue its exponential growth in popularity. This

divide in opinion is spread over a gradient of points of view with people oscillating between the two extremes of the end of digital or analog design all together. After the experience of this second module I have begun

to form my own opinions on this issue of digital design vs analog design and can start to workout where I sit on this gradient of views.

From my experience in module 2 I have found digital modelling to be both a blessing and a curse. It has allowed the production of a number of variations in designs in a very short period of time that has lead to an

enhanced development of my design. This aspect of digital design is, I believe, the main appeal as it also offers such a diverse range of options to a designer, from elaborate experimentation, such as some of my

panelling, to precise modification and refinement, it offers such an ability to develop and rethink ideas that it has seemingly optimised the design process. However, whilst it does have the potential to optimise the design

process it can also work to its detriment. In the preceding pages it can be seen I had no end of problems with Rhino and digitizing my model and I ended up spending hours fiddling with control points and vertices to make my design panelable. Why I mention this is that for this entire time my sole focus was to create a model that worked within the constraint of Rhino, I lost perspective on my design and concept and became totally

focused on creating a working model in Rhino. This loss of perspective was to the detriment of my design and I was forced to re-evaluate my current direction and backtrack through the design process.

Through the examination of this experience of mine it can be seen than digital design has the ability to greatly enhance and aid in the design process but can lead designers into the trap of forgetting the broader context

that this design must fit into and lead to a loss of understanding and perspective on the form one is actually creating, viewing it as set of points and vertices, rather than a real life object.

If we now return to our gradient of views I believe I it is fair to say that I sit pretty firmly in the middle of the debate between analog and digital design. I do not believe either, on their own, will lead to good design.

Rather I believe that digital design should be a tool used to enhance the ideas produced by analog means rather than become a platform for conceptual development. Yasha Grobman, an architect, describes digital architecture as not “a true revolution, but rather as a stage in the natural evolution (of design that has been)

influenced by the development of the computer.” This statement I believe encapsulates my point of view that digital design is not a replacement for analog methods but rather an enhancement of it.

Despite the endless complications I had with Rhino I still strangely enjoyed the challenges of digitizing my model. And whilst I did find Rhino limiting in the construction of my form, on hindsight when I go to construct it, it will probably be far easier than it would have been otherwise.

If we reflect on my previous reflection I challenged myself to maintain a balance between the abstract and literal. I believe I have managed to maintain this balance, though I did falter during the middle of this module, my re-evaluation brought me back on track leaving me with a form that is both abstract in its form but retains a literal link to my underlying analogy. What I did struggle with this module was maintaining a balance between aesthetics and what was a strong representation of my underlying concept. For the next module I must be careful that I do not make decisions purely based on what looks best but remember all the conceptual grounding underpinning each design.

PERSONAL REFLECTION

REFERENCE- Grobman, Y 2003, ‘The Digital Era- Revolution or Evolution’, Architecture of Israel Quarterly, October, pp. 10-12.

Module 2: Design & 3-Dimensional Modelling

Elizabeth Long Student Number: 23212Semester 1/2012Group 1

3-Dimensional Modelling – Early Attempts Tracing Sectional Slices

My first attempts at modelling the Klein Bottle began with sectioning the model to make contour slices vertically through the body, then radially through the handle.I then traced the sectional lines on Rhino, sticking as close as possible to the outlines of the model. The model was quite plastic, and deformed as it was sliced and it was very hard to make smooth shapes this way. The result was lumpy and not at all similar

to the model.I tried tracing the cross sections again, but making the shapes rounder rather than following the exact contours of the slices. This produced more even contours and a form closer to my model, but still significantly lumpy, and I was left with the difficulty of positioning the radially sliced contours for the handle correctly using the orthographic photos as reference.I was not happy with the technique as a whole, because of the uneven result, and the time required to arrange the contours correctly.

Figure 1. Contour Slices Figure 2. First attempt at modeling from contour slices

Figure 3. Second attempt at modeling from contour slices

3-Dimensional Modelling – Successful Attempt Tracing Profile Curves

I tried a different approach by tracing profile curves. I set up orthogonal photos of my model onto the Top, Front and Right Picture Planes on Rhino, and drew curves around the contours of the bottle – the right and left sides as visible in the Front Picture Pane, and the front as visible in the Right Picture Plane. I needed each curve to contain the same number of control points, so I drew one, then copied it and move the control points to fit the other two profiles.The initial curves were flat on the Picture Plane I drew them in, so I then used the other picture plane to position them correctly for the shape.I then used the control points to draw a circle, connecting the three curves – this created even contour curves and formed the basic exterior shape of the Klein Bottle.I then experimented with different settings to loft this shape. When closed loft was selected, I created a shape that had the shape of a Klein bottle, but the surface inverted inside the bottle so it had two surfaces.

Figure 4, Profile Curves and orthogonal photos.

Figure 5, Profile Curves Figure 6, Cross section of profile Curves Lofted – with closed loft selected

3-Dimensional Modelling – Early Attempt Creating a Klein Bottle

Once I had modelled the external form of the Klein Bottle, I then had to work out how to model the internal form, such that there is only one surface. I discovered that Rhino could not actually model the form I required. I was lead to believe that Rhino would loft the object, forming the surface between the curves in the order they are selected. So I selected the curves, beginning with the small internal curve 1, followed by 2, and continuing to select curves in order down the inside, up the outside, round the handle (clockwise direction) and then back down through the inside of the form selecting 1 and ending with 2 (there are two curves at each of these points, right next to each other). The resultant surface appeared to start at curve 2 and end at curve 1 – so the program didn't even follow the order of curves as I selected this. I found this problem occurred repeatedly when I attempted this with other configurations of curves.

Figure 7, Profile Curves for Klein Bottle Figure 8, Loft of Profile curves Klein Bottle

3-Dimensional Modelling – Successful Attempt to Create a Klein Bottle

My tutor showed me the Record History tab, which, when activated prior to lofting, attaches the surface to the profile curves so that when the curves are moved, the surface will follow. He also pointed out that when it comes to making the actual paper model, to form a smooth connection between each end of the internal section of the Bottle, the ends needed to overlap by three curves.I then conceived of the idea of creating the internal surface of the Klein Bottle as an external surface, and then moving the curves, and surface, inside after lofting, to form a continuous surface. I pulled one set of curves out the bottom of the Bottle and the other curves I bunched together in the handle.After lofting, these curves could then be shifted into position and the surface would follow.

Figure 9. Klein Bottle Curves, prior to Lofting and moving

Figure 10. Klein Bottle

Lofted, prior to moving

Figure 11.Lofted Klein Bottle cross-section showing internal overlap

3-Dimensional Modelling – Successful Attempt to Create a Klein Bottle

The Klein Bottle model now appears to be complete, but it still has one flaw, as is visible in figure 13 below. At the bottom where the surface inverts upon itself and the bottle tapers to form a tube the transition is fine, but the intersection where the tube exists through the side of the bottle is not. The tube is cut at this point by the external surface of the bottle.I still need to work out how to cut away this small round section of the surface, so that the tube is not blocked.

Figure 12. Klein Bottle Figure 13. Klein Bottle – viewed from below

Figure 13. Lofted Klein Bottle cross-section showing problem still to resolve

3-Dimensional Modelling – Experimentation with Panelling

The surface was converted to the panels below with grids spaced so there were 40 points in the u-direction and 10 points in the v-direction.The Dense pattern hasn't worked at all, as every second panel is reversed – the purple panels are actually the backface.I am not happy with the bottom of the BoxX pattern and the Triangular pattern, as they end up sitting on points, rather than on a flat base or edge.I think the Tri-basic pattern is the most successful for this model.

Figure 16. Panelled with Triangular pattern

Figure 17. Panelled with Tri-basic pattern

Figure 15. Base grid spaced with 40 points in u-

direction and 10 points in the v-

direction

Figure 18. Panelled with Dense pattern

Figure 19. Panelled with BoxX pattern

Figure 20. Grid spaced at 30 dots in the u-

direction and 10 in the v-direction

3-Dimensional Modelling – Tri-based Pattern

I have experimented with changing the grid spacing for the Tri-based pattern.The spacing in the v-direction (horizontal round the bottom of the bottle, but curving radially with the handle) appears to be adequate. There is scope to experiment with changes in the spacing in the u-direction (the vertical lines running up the bottle, looping with the handle and down through the bottle).Decreasing the grid spacing by changing the u-direction spacing to 30 made the handle very pointy. Increasing the grid spacing by changing the u-direction spacing to 50 made the handle much more smooth.





While these panels may create a form that is close to the shape I want, they contain way too many panels.Figure 20, made with 300 grid points has 600 panels, figure 21, made with 400 grid points has 800 panels and figure 22, made with 500 grid pints, has1,000 panels.I need to experiment further with the panels in order to come up with a model that has only 200-300 panels.

3-Dimensional Modelling – Tri-based Pattern and Attractor points

I have experimented with changing the grid spacing for the Tri-based pattern and using an attractor point to cluster the grid points where they are needed – at the top of the handle where it curves over.This minimises the number of panels, without making the handle pointy.

Figure 23. Attractor Magnitude 1




Grid spaced at 20 dots in the u-direction and 8 in the v-direction – 320 panels

320 panels is still a large number.Having 8 grid points in the v-direction creates a 4 pointed star at the base of the model, which is neat and attractive.With the attractor set at a magnitude of 1 or 2, the bottle retains its shape, and has a smooth handle. With the attractor set at a magnitude of 3 or 4 , the bottom of the bottle (furthest from the attractor point) and the bottom of the handle begin to become distorted.

3-Dimensional Modelling – Tri-based Pattern and Attractor points

Keeping the number of grid points in the v-direction steady at 8, I have experimented with reducing the number of grid points in the u-direction and varied the attractor magnitude between 1 and 2.When there are only 12 grid points in the u-directions, the bottom of the bottle is very distorted.With 18 grid points and an attractor magnitude of 2 the bottom still appears to be quite coarse, it lacks the smooth curve that remains with an attractor magnitude of 1.










3-Dimensional Modelling – Ideal Number of Grid Points and Attractor Magnitude

These models were based on a ratio of 16 points in the u-direction and 8 in the v-direction and a point attractor magnitude of 1 and positioned at the top of the handle. This ratio creates a smooth silhouette, and produces a a nice symmetry in the number of panels – twice as many vertically as there are round the circumference.

Figure 33. 16 dots in the u-

direction and 8 in the v-direction. Attractor Magnitude 1, attractor position indicated with arrow.

Figure 34. 16 dots in the u-direction and 8 in the v-direction. Attractor Magnitude 1 – Tri-Basic panels

Figure 35. 16 dots in the u-direction

and 8 in the v-direction. Attractor Magnitude 1 – Dense panels

3-Dimensional Modelling – Prototype Testing 1

This first prototype is made with regular copy paper, created at a scale of 1:2.I chose to model only the handle because it is the most fiddly part of

the model to build. I expected to have problems at the point where the handle curves down and intersects with the body, but as can been seen in the model, it did not curve round as much as it should have. This might have been because I miss-oriented one of the pieces when I was assembling the prototype, or it might be because of inexact folds and cut lines.

Figure 37. Front View of prototype 1

Figure 38. Left View of prototype 1

Figure 39. Top

View of prototype 1

Figure 37. Front View of prototype 1

Figure 36.

Section of model tested

3-Dimensional Modelling – Custom Panelling

These models were based on a ratio of 16 points in the u-direction and 8 in the v-direction (the actual number had to vary for each custom panel) and a point attractor magnitude of 1 and positioned at the top of the handle.The custom panels are not flat, so cannot be replicated in paper.The fact that some panels are facing front and some of them are reversed also makes these panels impossible.

Figure 40. Custom Panel 1



Figure 43. Custom Panel 3 (half the number of grid

points)

3-Dimensional Modelling – Design Variation 1

This design variation involves drawing a flange to the outside of the bottle. This reflects the original design of the bottle. The flange was removed for the initial modelling in order to simplify the process.The flange refers to the helicopter seed – it represents the wing of the seed, spiralling around the seed as it falls.This model may be quite difficult to construct with paper. The flange would need to be cut separately and then inserted into the bottle. This would be best done by cutting a dotted line of slits in the surface of the bottle along the path of the flange, cutting tabs along the inside edge of the flange, and inserting the tabs in the slits of the bottle. It would be very hard to secure them there, as once the bottle is closed it is very hard to access the inside in order to fold over and fasten the tabs to the inside. Also, the flange would need to be fitted perfectly to the outside of the bottle, which it is not in this model – it slices through the surface.

Figure 44. Design variation 1

Figure 45. Design Variation 1 – orthographic views


This design variation involves the internal part of the Klein Bottle following a spiral path. The surface of the Klein Bottle would need to be transparent or have large openings for this internal structure to be visible.The spiral path represents the path of the tip of the wing of the helicopter seed as it descends.This design would be very challenging to create using a paper model. The handle section is made of multiple small pieces that will be very fiddly to connect. The fact that this model has a very large section of narrow tube, means that a large amount of very difficult construction would be required. The curves in the tube mean that I would need to use more panels to achieve the form.

Figure 46. Design Variation 2 – orthographic views

Figure 47, Original Klein Bottle Figure 48, Design Variation 3


This design variation involves re-building the model by distorting and altering the form to create the silhouette of a figure 8 (the path described by the tip of a humming bird's wing when it hovers).The tapering neck of the bottle is a much more elegant shape than on the original Klein Bottle, but the handle is now very

cramped and would be hard to hold. Also, with such a tight bend, it may become angular when the form is recreated using panels

Figure 49, Figure 8

3-Dimensional Modelling – Design Variation 3 Panelling

I have created a gird using 16 points in the u-direction, 8 points in the v-direction and an attractor point with a magnitude of one. The Tribasic panels appear to give a smoother silhouette than Dense panels.

Figure 50. 16 dots in the u-direction and 8 in the v-direction. Attractor Magnitude 1, attractor position indicated with arrow.

Figure 52. Dense PanelsFigure 51. Tribasic Panels

Figure 53. Ribs (1cm wide) with Notching.

3-Dimensional Modelling – Design Variation 3 Ribs

To support the structure, ribs may be required. Initial attempts to create ribs lead to the ribs being placed on the outside of the lofted form (Figure 50.) When the distance was changed from 1 to -1, the ribs were then positioned inside the structure (Figure 52.) Although the grid points were arranged so that three groups of them overlap

Figure 54. Ribs (1cm wide) with Notching on outside of surface.

Figure 55. Ribs (1cm wide) with Notching on inside of surface.

3-Dimensional Modelling – Design Variation 3 Poor Rib Connection

The initial form was modelled so that the overlap between one end of the surface and the other, midway through the inside of the bottle, would ensure that the two surfaces met seamlessly. When the grid points were created using the attractor point, this connection was interfered with, so now the two ends do not meet cleanly.

Figure 56. Ribs, showing ends at 1 and 3 and

intersection at 2

Figure 57. Close-up of 1, showing descending ribs passing through and past

ascending ribs.

Figure 58. Close-up of 3, showing ascending ribs passing descending ribs.

Figure 59. Close-up of 2, showing twist in horizontal rib at point where ascending

and descending ribs intersect.

3-Dimensional Modelling – Design Variation 3 Improved Rib

Connection

The grid points were adjusted so that the two ends meet at approximately the same angle, but no longer overlap. They meet at point 1 in Figure 56 (figure 57 shows a close-up of this). Unfortunately, the vertical ribs twist at point 2 (figure 58

shows a close-up of this).

Figure 60. Close-up of 2, showing twist in horizontal rib at point where ascending

and descending ribs intersect.

Figure 62. Close-up of 2, showing twist in horizontal ribs

Figure 61. Close-up of 1, showing where the vertical ribs meet.

The surface used the create the ribs (the lofted surface) overlaps inside at the point where the ribs twist. I think this is what has caused the ribs to twist, as the program is confused by the overlapping surface.As a result (causing of the twist), the ribs move from the inside of the surface, to the outside of the surface. This enables the ribs to meet on the same side of the surface.

Figure 63. Cross section showing where ribs pass through surface at 1.

3-Dimensional Modelling – Design Variation 3 Panels with Holes

The Offset Border command was used with a point attractor to put holes in the panels with sizes varying depending in their proximity to the attractor point (size increasing the greater the distance from the attractor point).

Figure 64. Flat Panels (Box) with offset Border command and Attractor Point

used to create variable holes in the panels

Figure 65. Flat Panels (Dense) with offset Border command and Attractor Point


Figure 66. Flat Panels (Tribasic) with offset Border command and Attractor Point


3-Dimensional Modelling – Panels with Holes and Fin

I have combined design variation 1 (with an added flange) with design variation 3 (altered to have a form closer to the figure-8 path of a hummingbird's wing tip). Rather than attempting to draw a flange, I have used ptFinEdges to create 4cm fins on all edges (excluding the internal section as there is not enough space).

I have used the form made with Dense panels because the edges between the panels flow at an angle up and around the form in a continuous sweep. I then deleted most of them, to leave one single fin that twists up and around the form. The fin protruded too far at the bottom of the form, so I used the Split function to trim it so that it ends flush with the bottom of the form.

Figure 68. Dense panels with fin – most fins deleted.

Figure 69. Close-up of fin with trimming plane in red and parts to

be trimmed shown in green.

Figure 67. Dense panels with fins

3-Dimensional Modelling – Panels with Holes and Fin

The silhouette of this form now looks very close to the original design idea. The the shape reflects the hummingbird wing path and the fin represents the path of the wing of a helicopter seed.

Figure 70. Dense panels with fin - orthographic view

Figure 71. Dense panels with trimmed fin

3-Dimensional Modelling – Prototype Testing 2

This second prototype is made with thicker copy paper (similar in density to the card we will use for the final model), created at a scale of 1:1.

Figure 75. Right view

of prototype 2

Figure 72. Section of model tested

Figure 74. Front View

of prototype 2Figure 73. Unrolled section with fin located incorrectly

Again, I have modelled only the handle because it is the most fiddly part of the model to build.When the model was unrolled, the fin was no longer connected at the correct edge, and I have re-positioned it, but I think that in some places I have placed it in the incorrect orientation, so the fins don't connect to form a single, sweeping curve.The solution to this would be to unroll the fin as one piece, separate from the main form.

In Figure 72, you can see that the end of the handle ends very close to the surface of the body. In figure 75, it can be seen that there is a much larger space between where the handle ends and the body begins. This is a problem, as I would like to create the illusion of the handle passing through the surface of the body.

Figure 76. Top view of prototype 2

Precedents in Figure-8 Design 1

The wing tip of a hummingbird, when it is flying forward, describes an ovoid path. When it is hovering, it describes a figure-8 path. A relatively small shift in movement, to achieve a result other birds struggle with.Similarly, in the 8 House, BIG Architects, Denmark, have transformed the traditional form of apartments, a rectangular block, by

inserting a twist, to create a figure-8 outline. In so doing, they have transformed the space, mixing internal and external, public and private and providing opportunities for interaction and engagement not present in a simple rectangle.

Figure 77. Hummingbird in forward flight and hovering with wing path indicated.

Figure 78. 8 House, BIG Architects, Denmark

8 House, BIG Architects

Figure 80. 8 House, under construction

Figure 79. 8 House, model

Figure 81. 8 House, rendered bird's-eye view

Figure 82 8 House, model

Precedents in Figure-8 Design 2

The 'Flipper, NL ArchitectsThis is an elegant solution for a traffic problem – switch traffic lanes from right-hand (China) to left-hand (Hong Kong). This bridge allows traffic to flow smoothly from the right to the left hand lanes, with outside lanes transforming into inside lanes

and inside lanes transforming into outside lanes.

Figure 83. Flipper, NL Architects

The figure-8 is used in design to shift perspectives, so that outer surface becomes the inner surface and vice versa. Neither

of these designs imitate a Möbius strip, as they still have an inside and outside surface, but they are one step closer to it than a simple rectangle.

Precedents in wing-inspired Design

Figure 84. Foster + Partners’ Wing-Shaped Zayed National Museum

Figure 85. Lyon Airport Station, Lyon, France by Santiago Calatrava

Santiago Calatrava's Lyon Airport StationThe railway station hall is made with two wing-like converging steel structures covered with a skin. Beneath this is the glass and steel main hall.

Foster + Partners’ Wing-Shaped Zayed National MuseumThe five wing-shaped solar towers sit on top of the museum and act as thermal chimneys, drawing cool air through the museum.

Both these designs have visible structural frames, emphasising a rectilinear form bent and moulded to create a smoothly curving form in the same way that the flat planes of my model come together to create a curved form.

Critical Analysis

In working with Rhinoceros to create a three dimensional model, I have learned a great deal about the limitations and strengths of Rhino as a modelling tool. I attempted unsuccessfully to create custom panels – my 2d custom panels

converted to lines when they were panelled and my 3d custom panel flattened on its side when it was panelled. I would have liked to have created a panel that better reflected the helicopter seed, but (rather than using a simple triangle panel) but will need further assistance with Rhino to attempt this.I think using attractor points to influence the positioning of cut-outs in the panels was very effective, as it has created an opaque handle, and a body that will project light. I am pleased with the addition of the fin, as this brings back a very strong reference to the original design inspiration of the falling helicopter seed.Producing a physical prototype was an important experience, as it made me aware of the problems in unrolling a 3 dimensional form onto a 2 dimensional plane. It has also made me aware of the problems with inexact cutting and folding, which may be a significant problem when producing the final model. While the cuts will be exact, the manual folds will not. Also, manually glueing tabs together is inexact, and increases the margin of error.Digital modelling, when it works, is a very satisfying process. Analogue modelling is very slow, and produces one model that cannot be exactly replicated, and when altered, cannot be returned to a former state to try different alternatives. Digital

modelling allows for risk taking in design exploration, because it is always possible to return to an earlier form if a particular direction doesn't work.

Figure 90. Dense panels with trimmed fin

References & Sources

Figure 77. http://journowl.com/index.php/archives/835

Figure 78, 80 & 81. http://www.designboom.com/weblog/cat/9/view/11075/big-architects-8-house-under-construction.html

Figure 79 & 82. http://www.arcspace.com/architects/big/8house/8house.html

Figure 83. http://architecturecaribbean.com/arch-prof-projects.php?id=37

Figure 84. http://inhabitat.com/foster-partners-wing-shaped-zayed-national-museum/

Figure 85. http://www.skyscrapercity.com/showthread.php?t=1119329&page=3

Hao CHEN Student No. 397001 Semester: 1/2012 Group: 12

Module 1 Review: Waterfalls

In module 1 I analized the movement of water and the pattern of how it falls. The lanform and the waterfall changes each other relatively. The water reshape the landform as time pass by while the landform also changes the waterway. Therefore according to this, the design of this lantern is to have the body act as the landform that allows the water to flow and moves according to the surface of the body. The picture on the right is the desired light effect. Which the light shines around the collar and changes density while it spread along the body to signify where it changes its path.

Posted on New York Times

1. 2. 3.

1. This was the initial design, the idea was to keep the water curtain in front of the body then splash at the waist. The collar was used to signify the water source.

This piece is more like a fashion d e s g i n a s t h e s p l a s h p a r t w a s desgined into a belt and everything is symmetric.

2. This was the second idea, which also the water flows on the body. but this time it changed its path between the chest then it spread out after it hit the abdonminal muscle. Because the momentum of the water are in the same direction after them pass the chest therefore it will keep its symmetric shape as shown.

3. This design also keeps the collar as the water source. However, this time the waterway changes. The water hits the left chest and then changed way to the right after it hit the left ribs and the abdonminal mucle. However because the momentum is different this time therefore the waterway is different from the one of the No.2 design. In the end it still hits the waist but this time it splash to the left side of the body following the flow.

Designs of Shape:

Digitization and Refinement:

In order to allow the water "flow" on the body, We need to digitize the body surface in order to built the module that meet with its pattern. So I placed many orientation points to locate the rise and falls on the body.

First I built a pictureframe according to the size of a real person. Then using the editing function to move the points refer to the three views(top, front and left).

Because our body are roughly symmetric. Therefore after locating one side of the body, I used the mirror function in Rhino for the other side of points.

Even though I had located many reference points at any significant changes on the body, there sti l l some small curves that have to consider. So when connecting those points to create curves for lofting I cannot use straight lines. If I did so the water will not be able to "flow" on my body as it ignored a lot of the rises or downs.

So I connect those points with curved lines leaving reference points in any blank places. And then use edit function again to alter those curves in detail so that the lantern will be able to "flow".

Design Selection:

1. 2. 3.

1. The first design looks like this after lofted all the reference curves and edited some point to alter the surface. I used uniform loft because this design is to show how water flows down but hit on a few obsticals so straight loft will be too straight angled.

However because lantern have to adapt with the rises and downs with the muscles. The final product looks like an amour in Star-Wars. It is not abstract and stylish enough. So I think I will gave up on this design.

2. The second desgin is more abstract than the first one. However it sti l l cannot convey the feeling of fluency and liquidity of water in nature. The flow or the "waterway" had avoided most of the significant rises and downs on the body therefore it is too narrow to represent the waterfalls.

3. This design is my favourite. As you can see from the picture, the isocurves showed how "water" flows down the body. Because I use the straight loft so the waterfall actually have different layers according to the body rises and downs. And this design looks more like the water flow in nature as it is not symmetric. So I decided to use this one as my final design.

2D Paneling Experimentation: Boxes 2DBasic

FIrst I tried some basic 2D shapes to see the outcome. However because they are only lines on the surfaces which lacks of both virtual effect and communication of the theme of design.

As they need further developments, therefore I tried some other functions in paneling tools. Such as extrude the edges and fin the edges to create more virtual impacts.

While playing with these two functions. This function have an advantage is that the pattern will now be more practical to transformed into real modules. Because the patterns now have thickness instead of just lines on the surface. As a result we can use paper to fold them in reality.

However because they are all basic shapes, therefore its hard to convey the design concept into the patterns.

Angle Boxes 2DFinned Edges

Boxes 2DFinned Edges

Diamond 2DExtruded Edges

Wave 2DExtruded Edges

Angle Boxes 2DBasic

Then I tried the 3D paneling. After I tried the basic 3D shapes, I found out that the 3D paneling is more virtually appeal than the original 2D patterns. However there are not much differences than the "3Ded"(using fin or extrude edges function) 2D modules. Both of them is lack of meanings.

These three shapes are all look pretty cool, but I think it is more suitable to use them as frames for the latern to strengthen the structure if needed.

3D Paneling Experimenttation:

After the basic 3D shapes failed to satisfied the need. I then played around with the 3D custom shapes. This requires a paneling object. I created 2 random shapes to try the function.

Through the process, I found that the basic paneling object is very easy to create, and it almost have no limitation of the size or shapes. However the pattern varies a lot from the grid density. For example as the picture shown on the right, same shape same pattern but the desity differs therefore the final paneling on a curved surface will also be different. But this gives an alternative rather than just the basic shapes.

Partition 3D Pyramid 1 3D Wedge 3D

Custom 3D Custom 3D

Grid 9×9 spacing 5 Grid 18×18 spacing 2.5

Further Development and Experimentation:

After experienting the paneling tool with basic shapes in Rhino. I decieded to create my own paneling object.

First I looked back to the pattern of the waterfalls. As I mentioned at the begining or this report, waterfalls is closely related with the landforms. Nevertheless they are altering each other due to erosion.

Therefore, erosion of water played a very important role in this natural process. So I decided to look for my pattern from the trace of water erosion on rocks.

As the picture shown on the top and right, it is very clear how the water flows down from the hill and creates those curves. So I try to analyse those curves in order to find a certain pattern between water and rocks.

Develop Custom 2D Pattern:

First trace the main erosion mark of water and then move them into a serious of blocks.

As shown on the right, those curves looks just like some random curves with no certain pattern in them. So I have to break them up into three groups to see any other potential pattern.

1. 2. 3.


Then I split the curves into three groups. Then turn their directions to 90, 180 and 270 degree. However they still looks like random curves. But after I stare them for longer period. An idea suddenly come up in my mind.

The map on the right is a contour map, it shows a topgraphich view of the landform in an area. As mentioned before, waterfalls are closly related to landforms.

However how to translate the erosion marks into this landform map is still unknow. Luckily I saw the map on Google while I was searching some images.

The map on the corner is the watersurface map around Washinton areas in U.S.A..

The border of the cities had cut the water into different areas. It is just similar to the situation I have right now. I have the erosion marks in different blocks. The erosion marks are just like the watersurfaces on the map. All I have to do is to combine them together.

Precedents:

The Dénia Mountain Project designed by Vicente Gullart is a genious practise of adapting the natrual forms into design.

Gullart looked into the surface of a certain type of rocks and then divide them into different aspects.

After divided them into different fragments, he looks at the surfaces in different ways and then further developed these views into a hexagon. He turned the hexagon into differnt angles. And then try to connect the lines on the hexagon together to create a pattern.


So I printed those fragments onto a paper. Then cut them down and start to crack the puzzle. I tried them in different positions and different places in order to "fit".

The picture below shows that even just one copy of each fragements is already enough to connect therefore this means this pattern could grown endlessly.

So I selected a part of the pattern(shown at the right hand corner) to digitize it into a practical 2D pattern for paneling.

Digitize The Custom 2D Pattern:

First I set up a pictureframe to locate the curves on the grid(as shown on the right). Then edit the reference points of the curves till they fixed perfectly with the original pattern.

Then I change the curves into straight lines, this is to abstract the pattern.

Experimentation of Custom 2D paneling:

Custom 2D paneling Custom 2D paneling withFIn edges

Custom 2D paneling withFIn edges and extrude edges

Using the custom 2D shape 1 to panel. This is how it looks with only curves appear. Using the Render I can see how these curves twist on the lantern. This allows me to see how theses pattern looks.

The curves on the surface looks like the waves in the water. So it is very good to be used as a module. However because these curves are only lines,therefore we might need some further development.

This module comes from the first one. I finned the edges so that the curves could be 3D. It kept the advantages of the first one and transformed it to be more practical. So this could be my first module to be listed on the alternative list.

This module I played with different techniques. I exploded the surfaces and gives each of them different shapes of pattern.

From the picture can see that I combined the f i rst one with the second one. This means that the curves will be cut out on a plain surface. The rest of the part remains the same as the second module.

This module is easier to make and the curves can allow the light to go through which might create an intersting effect.

So th i s one i s a l so l i s ted in the alternative.

Experimentation of Custom 2D paneling:

Using the abstract shape to pannel creates a similar outcome. This pattern can also convey the water concept I wished to have.

So this pattern is also acceptable.

Custom 2D panelingwith abstracted shape

Custom 2D panelingwith abstracted shape

and finned edges

This is the finned edges module of the abstract paneling shape. Which is a 3D module of the paneling.

Comparing two patterns join together I think the abstract version of the module is easier to make than the similar one of the original shape. Because papers are easier to fold into these straight angels rather than the random curves.

So I will place this on the list in front of the two I choose before.

Materiality:

The construction of any product is strongly depend on the material it use. For example the seat above was made of steels. But what if it has to be made out of normal A4 paper. This design will no longer be suitable as the material it use is not strong enough to support this design.

The situation I have here is similar. Paper is not strong enough to twist into the random curves I paneled without tear into pieces.

Another problem I face here is when the density of the paneling shape increaces, it is hard to hold so many objects together while resisting the forces of the material itself.

Precedents:

This project was designed for the University of California. This project has to be finished in a very short of time. Therefore the designers come up with an idea of digitizatize the whole pattern and them seperate them into different parts using the computer.

This modeling fragments through computer not only save time but also save materials as all the parts were precisely calculated by the computer. It also allows the builders to cooperate with each other easier as all the parts had been labeled, therefore it can be installed even without the design plan.

So digitize the module is very usful in transform my module into a real piece. Especially when the product has to be made of paper. This fragile material has to be precisely calcilated in order to avoid unnecessary folds that will cause its failure in supporting.


Back to this picture I discovered that every time when there is a Y-shape cross that means the water hit a high surface. This can help me translate the 2D pattern into 3D patten.

First I placed a line in every cross. Then I drag them upwards and loft from it. The picture on the left shows the outcome.

Experientation of Custom 3D Pattern:

This is the outcome of my 3D paneling. The paneling is too messy if looked from rhino as the surfaces is not uniform.

Therefore I think this one is too hard to be built with paper. So eventually I think I will stick with the 2D paneling with finned edges or extruded edges.

Because I choose to use straight loft at the begining of the module. Therefore the module is unable to use the extrude or fin the edges function as the surface is not accepted to use as the reference surface in Rhino. The problem is stil unable to fixed even with the help of the assistant session in the lab.

Failure result of varies the 3D panelDid not generate the shape according to the surface

Prototyping:

I did some light effect experiment on the abstract pattern. I did both of the 2D paneling and the 3D paneling.

On the left is the finned edges 2D paneling module. Its light effct is more layered as this shape will deflect the light from the vertical direction. Therefore the light will be more focused on the horizontal direction.

On the right is the 3D module. B e c a u s e i t h a v e m a n y polysurfaces. Therefore it can diffuse the light and make the lantern more shining in the inside. However because it will be worn by a people. So this will not be very useful.

Prototyping:

I printed out the 2D pattern after paneled a few of them.

Then I use a knife to cut out the edges that I choose from the pattern. I was assuming that the light will come out in different directions and therefore will have some long and short spots on the ground. However because this paper is too thin. If I stimulate the distance of the body and the lantern in final product. The spot will not be so clear.

So I dragged the light source further and it created an effect as shown. This indicates the edges of loops is not enough that they are not connecting to each other very often.

Precedents:

This 3D printed lantern had a very unique light effect. ALl the patterns on the surface has a dark end as the light were blocked vertically.

This is also the element that I wish to add into my design.

This Pendant light was designed by Tom Dixon, it creates anatmospheric angular shadows when lit. The shades were created by the unique shape on the surface.

This "orb on a wheel" designed by Earl Pinto also have a very unique light effect. As some angles the light was able to go through and at some angles the light were blocked by the lantern. This draws the attention onto the pattern of the lantern.

In module 2 there has been a lot of new challanges. Especially in using Rhino to digitize the design. The further development using Rhino paneling tool is not that hard but how to communicate your panelling with your design and the natural process you analysis is much harder. The pattern is not that simple to apply as I imagined in module 1. So I have to redevelop my pattern again in order to adapt to the new shape.

The Times Eureka Pavilion in Lecture 5 is very usful. The idea of how to analyse the leaves and how to combine those patterns together is very intersting. This method can also be found in other projects. Such as the Dénia Mountain Project which Annie showed me in the tutorial. I used these ideas into my waterfall pattern by analysing the water erosion on land surface.

While I was experienting the pattern using paneling tools. The lack of skills of using rhino had limited me a lot in creating more shapes. Another limitation is the material. While deciding the shapes. The paneling object has to be able to be built with paper. Some of the ideas were abandoned during the process of selcting due to the limitation of structure stability.

This related to another popular question in the archietecture industry right now. To be an archietects is much easier nowadays as a lot of softwares are there for you to use. All of them have a lot of tools that can make your design look "cool" with only a few clicks. However, without understanding the structure and every detail of the design, it is certain that design is no way near perfection. We cannot just throw a design out and ask the computer to do everything and ask the civil engineers to squeeze out every material they know to make that design happen. It is important to undestand the material we might able to use and the concept of the design.

Based on this we then can start using the softwares that can helps us to generate the functions we discovered in the analysis more precisely. In conclusion, in module 2 I realized how design can be limited by the material and lack of skills using softwares. Above all, creativity is still the key element in the design no matter how convinient the softwares had become.

Reflection:

MODULE TWO : DESIGNHILARY PACKHAMSEMESTER ONE 2012

LEFT SIDE RIGHT SIDE

TOP

BOTTOM

FRONT

ORTHOGONAL PHOTOGRAPHS

DIGITIZING MY MODEL

PLASTICINE MODEL FRONT VIEW OF ORTHOGRAPHIC SKETCH INITIAL DIGITIZED SKETCH

Due to the simplicity of my shape, I have to create the two outer lines as my digitized sketch to use the sweep tool. I would like to experiment with square and triangular shapes, however I feel that an oval or circle would be most appropriate in the design as it follows the curvature of the base lanes.

UNREFINED ORIGINAL SHAPEI have decided that I would like more of a circu-lar form, rather than the more square form of my original model. I feel that the initial curved sur-face works better with the curvature of the main lines. To create the digitized version of my original model I - 1. Traced the orthographic sketch with the con-trol pint curve2. Drew a very small circle with the Circle tool in the top view. 3. I then had to line up the circle with the end pints of the two lines I drew4. Using the Sweep 2 Rails tool, I created a sur-face, making my line drawing 3D. I decided to trace the front view of my original orthographic sketch.

DIFFERENT SWEEP SHAPES

Using the sweep tool, I changed the shape from circular to triangular and square. I did this to confirm my use of the circle as the base shape.

The top three images I used a triangle. I find that the triangular shape does not blend with the curvature of the outline that was used as the rails of the sleep tool.

The lower three images used a non-regular square. The square makes the shape a little cumbersome, and does not link with the undulating curves. It also is pretty ugly and not aes-thetically pleasing.

CAGE EDIT

To get to this shape I re-traced the original shape. At the left end I made them touch and the right end almost touching. I then created a tiny circle as the sweep shape. This cage edit is an experiment, I distorted too many lines. I also don’t like how the two de-fined edges slope inward.

REFINING LANTERN - FORM TWO

This was my second cage edit attempt. I distorted less lines than in the first. I prefer the dominant lines to be outward facing rather than inward, like on the first. I am very happy with this shape, I like the two peaks contrast with the soft curve in the lower middle.

DIGITIZED ORTHOGONAL

RENDERED ORTHOGONAL

PANELLING PRECEDENTS - AAMI PARK SOCCER STADIUM

AAMI Park was designed by an Australian architecture firm - Cox Architecture. In 2011 it won three awards for its design. I really like the triangle pattern, that creates the curves of the bubble like struc-tures. As discussed in earlier lectures, there would most likely be a mathematical sequence related to the pattern of the triangles. I feel that the design is very fitting for the purpose, as it is used as a soccer stadium and looks like soccer balls. I also chose this structure as a precedent as it is a geometric panel that still has great curvature. I would like to incorporate this into my design, as I want to keep as much of a curved surface as I can whilst creating a triangulated surface.

PANELLING PRECEDENTS - HELIOS HOUSE

htt

p:/

/ww

w.f

loo

rna

ture

.co

m/m

ed

ia/p

ho

-to

s/30

/492

8/H

elio

s_H

ou

se_2

_po

pu

p.jp

gh

ttp

://u

plo

ad

.wik

ime

dia

.org

/wik

ipe

dia

/en

/f/f

2/C

OLL

INS_

BP_H

elio

s_H

ou

se.jp

g

http://www.bp.com/liveassets/bp_internet/globalbp/STAGING/home_assets/Ener-gy_lab_gasstation_375x317.jpg

This petrol/service station Helios House is an eco-friendly struc-ture, but ironically it is applying fuel that has negative impacts on the environment. But, in terms of its architectural design it is striking and not seen as a common design. I like the irregular shaped triangle panels, and the way in which they change across the roof. My panels will potentially look very similar as my base surface is irregular. I also like how it is lit up. This structure would have most likely been created using Rhino or a program similar, as the use of technology is very prominent in modern design. Designed by dA with Johnston Marklee.

PANELLING PRECEDENTS - HELIOS HOUSE

http://en.wikipedia.org/wiki/Helios_House

http://archidose.blogspot.com.au/2007_06_01_archive.html

http://www.ecofriend.com/entry/leed-certified-green-buildings/

Eventhough we are not al-lowed to use coloured lights, I like the mot-tled colours and how they react to the metallic sur-face.

PANELLING PRECEDENTS - DALI MUSEUMThis is the new Sal-vador Dali Museum/Gallery in St. Pe-tersburg, Florida. Designed by HOK, an international design and architec-ture firm. Since Dali worked in a surrealist fashion, the archi-tecture reflects his dream-like artwork. I would like to create a panel of equilater-al triangles, as used in the outer liquid-like structure of this build-ing. Like the AAMI Park Stadium, the outer glass structure would have a math-ematical sequence. I would like to try and panel my form with equilateral triangles like this exterior.

http://www.designboom.com/weblog/cat/9/view/12808/hok-salvador-dali-museum-now-open.html

PANELLING PRECEDENTS - DALI MUSEUM

http://www.designboom.com/weblog/cat/9/view/12808/hok-salvador-dali-museum-now-open.html

There appears to be a mathematical se-quence as to how the triangles are arranged to create the liquid looking glass. Each tri-angle appears to have equal sides, creating a hexagon pattern. I would like to attempt to have all equilateral triangles as my pan-elling, however they may be distorted by the shape and curves.

PANELS SIMILAR TO DALI MUSEUM & AAMI PARK

In this trial, I wanted to experiment with a custom panel cre-ated by two equilateral triangles, as seen in the Dali museum liquid-like exterior. I made two equilateral triangles with open flaps. Unfortunately I was unable to successfully panel the shape. The panel was distorted leaving large holes.

I made the triangles into a shape of four points, but their configu-ration didn’t bond well with the points grid.

PANEL PROTOTYPES

To build my lantern I would like to use thick paper that can still hold he shape whilst be easy to manipulate and fold. I would also like the card or paper I use to be thin enough to create a soft glow that can be seen. I have also experimented with tracing/baking paper. I like the softness it creates. I would use it if the holes of my model are rather large, as I would like to not be able to see the lights within the lantern, but create a soft diffused glow. I used this technique in the top left corner image, as I cut large holes and covered them from the back to soften the light emitted. My favourite panel type out of these trials is the one in the bottom left corner. I like the smaller sides of the triangles facing, and consequently the openings facing each other. I also like the subtle contrast between the light escaping the holes and the soft darkness of the flaps.

BASIC PANELLING - 2D

< This is the TriBasic 2D panel. I used fifteen spans for the points grid. I like how the curved shape isn’t really lost, just simplified

The top three images is the Triangular 2D panel. I really like the jagged edges, however I feel that the curves have been lost due to the crazy ge-ometry.

<


This 2D panel is a extension of the basic Triangular option. To make the holes I used the OffsetBoarder command and set the distance to one. I really like how the larger triangles have very open holes but as the change and become smaller at the lower points the virtually disappear. This reflects the ele-ment of the amount of light changing across a sand dunes surface throughout the day.

CUSTOM PANELLING - 2D

This custom panel does not re-ally fit with the form. The picture above shows how this panel dis-torts the end of the form making it unsuitable. Also I feel that it is too open and skeletal. To rectify this I could increase the density of the base panelling grid and reduce the size of the holes. It also feels too structured, and doesn’t flow but looks rigid.

This image is of how this type of panel could look once fabri-cated.


I don’t feel that the Pryamid1 3D panel works with my design. I feel that it is too block-like and rigid and doesn’t suit the curved shape and lines. This 3D panel form could potentially be difficult to construct, especially the lower area of the right side as the forms become dense and complicated. It could work well if I removed the smallest surface to direct light to the right side, as representing the movement of sun from east to west.


Similar to the 3D panel before, I don’t like the way that the form is 3D panelled. It would be difficult to construct as it has mountain and valley folds. As discussed in lecture seven, the laser and paper cutter can not score both types of fold. I also feel that the 3D panel does not work well with the curves that I want to achieve.

REFINED PANEL PROTOTYPES

I do not want to have 3D block-like panels, as I feel that it does not mesh with my with my curvaceous design. Instead I would like to build on the curved form by having flap-like panels that fold out of the surface. In both I used the same trian-gular arrangement with the small sides parallel.

In the top three images I cut out two sides of a triangle and inset a whole triangle cutout. I like the shadow pattern that is created with the LED light. I also like the contrast that is created by the cut out triangle as it allows light out whilst the non-cut area only allows a little light out.

The bottom three images I left the flaps whole. This creates more dark areas which balance the amount of light coming from the openings.

CUSTOM PANEL ONE

This is a custom panel that is folded out to become 3D. I like the look of the folded out panel, but as the panel grid becomes more dense it looks a little spiky, and re-sembles more of a sea urchin. I like the texture that is created by the middle image, as it is not too dense, but a balance between to few and too many. However I would prefer a smooth surface for the two bottom arms and under area, as these are the parts that secure it to the body.

CUSTOM PANEL TWO

I tested this style of panel earlier with paper. In doing this I found that I liked the shadow that it creates as well as the contrast between how much light escapes and how much filters through the card. Similar to the images before, I would like a smooth surface with little or no panelling on the under side and arms, to concentrate pattern and the flaps to the upper area.

BACK TO 2D PANELLING

After looking at the 3D panels and custom panels I have decided that I do not like the look of them, they make my fluid surface too geometric. For my design, I think a smooth surface with a random placement of triangu-lar flaps would be more appropriate. I really want a fluid feel to the shape, and the 3D panels do not suit the shape. These images are of the basic tri-angular 2D panels, created from a panelling grid with fifteen spans and randomly places holes by the OffSet-Boarder command.

LASER CUT PANELS

The strips were taken from the centre panels of my lantern. I like how effortlessly the laser cutter cut the panels and the detail it created in even the smallest holes, however I don’t like the burn line. I would like to send the same strips to the paper cutter to see if it ends with the same result. As discussed by Gerard Pinto, it is important to trial differ-ent methods and materials for the best outcome.

Cut and score template - red lines are score, black are cut

ASSEMBLED LASER CUT PANELS

To assemble the two strips I folded along each tab and score line. I then applied a little craft glue to each tab one by one and secured it with a bulldog clip. This proved as successful way to join the strips. Due to the laser cutter, the burn lines weakened some areas and the paper layers pulled away and where two cut lines joined it made a little brown patch. This makes me want to trial the paper cutter.

LIT UP LASER CUT PANELS

I really like how the joined strips have lit up with a small LED torch. The paper card has a nice strength as well as transparency when penetrated by light. I particularly like the shadows cast by the open panels. If I leave the holes open with no flaps, I will most likely back each one with tracing or baking paper. This will mean that the tabs will be hidden from view, as I do not want them as a major element in my design. The tracing/baking paper will also allow light through, much more than the card, creating a subtle contrast. I will have to consider the best way in which to attach the LED lights to the interior of the lantern. I may make a ba-sic bamboo inner structure to support around three to four lights. I have also managed to create the model from the original template in the scale and size that I want.

COMBINATION

I want to combine these panels by having the 3D flaps of the right image placed at random like the holes on the left image. I think that this combination will be most suc-cessful in reflecting the movement of shad-ows over sand dunes.

RANDOM VS. FIXED DISTRIBUTIONRANDOM DISTRIBUTION

Distance from boarder - min distance .3mm max distance 10mm

I really like the random distribution of holes across the surface however I feel that it lacks structure and pattern.

FIXEDDISTRIBUTION

Distance from boarder - .3mm

I like the fixed distribu-tion of holes much bet-ter. I feel that it relates mush better to my original inspiration and chosen process of light moving across a dune. In this model, the slam-mer holes represent the early morning of only a little sunlight but as the shape progress-es the amount of light increases, represented by the larger holes.

To keep as much of the curve as I can, I have decided to increase the grid density to twenty five for both spans. I feel that by increasing the density of grid points it creates more curve than the lesser grid

COMBINATION

As I cannot digitally depict the combination, It will only be-come visual once I have created my trial fabrication. When it comes to making the cut and score template, one side of the triangle hole will be a fold/score line whilst the other two will be cut lines. This will enable me to fold out each flap successfully. The image above is of how the panel will fold out, as it has one side attached. The image to the left is the fixed distribution of triangles, of which each will have a flap cut out.

POTENTIAL LIGHT UP

FRONT

BOTTOM

RIGHT

These images are potential ways that the light will react with the paper and holes. I like the contrast between dark and light, reflecting my original inspiration of sun moving across sand dunes.

PERSPECTIVE

ORTHOGONAL VIEW - LINE

ORTHOGONAL VIEW - RENDERED

PROGRESSION

REFLECTION

This module has been a genuine struggle for me. I do not find altering and experimenting with surfaces difficult, but the software that is required to do it, I found was a challenge to use. Once I began to understand the basics of Rhino I was able to experiment and fiddle with my form. One of the best commands I used was the cage edit. This enabled me to change and sculpt my form from a dumpy looking worm to a sleek and smooth form. This design process is important, as it allows you to experiment with textures, 2D, 3D and custom surfaces to create a look that is appropriate for the form.I realise that during this process I return to using 2D panels. This is because I feel that they fitted best with my overall shape and kept a smoother curve which I was looking for.I mostly enjoyed creating potential panel types out of paper. As I like working with my hands, this enabled me to see what my final product could poten-tially look like. In Rhino, I really enjoyed lighting up my final lantern form, looking at the dy-namic shadows it cast.I am really looking forward to fabricating my design, and incorporating the flaps across the surface which I was unable to create in Rhino.Using Rhino has made me realise how the use of technology influences and allows architects to push the boundaries of design to create more intricate and diverse structures.

Module Two: DesignRebecca Huynh

Student No. 587309 Semester1/2012 Group 13

DIGITISATION

Experimenting with lofting by layering, this was successful due to not being able to achieve a closed loft

'Sweep 2' method was successful as it created on closed surface

Being unfamiliar with using Rhino, I played around with the program and initially attempted layering the lofts of my model – biggest to smallest. When I did this, I found that I was not able to create a closed surface.Therefore I scrapped this idea and tried 'sweeping'. The sweeping method was successful, however I came across the method of lofting using four curves.

DIGITISATION

Although the sweeping method was successful, I decided to create my nurb surface in a different approach.Using 'PictureFrame' to input 2D images of my model of the front and side view, I was able to extract four main curves to loft around,When I created the form, I was unable to turn on the points to manipulate the surface ad therefore had to rebuild to create a more smoother and less detailed model.

Stages of manipulation through lofting.

DIGITISATION

PRECEDENTPaper folding - Yoshi

Self – taught paper engineer by the name of Yoshi, creates his art work with scissors and origami folding techniques. He is inspired by Islamic and Hindu architecture and their intricate detailing with the use of geometric shapes and patterns, Yoshi's creations are categorised in three different fields: art, industrial design and fashion.

The very detailed folding of the paper, which produces the form and tessellating pattern, attracted and inspired me to recreate and similar arrangement for paneling on my lantern to represent the scales on a snake's skin

“In my work (paper folding, kiri-e and drawing) I have three fields of investigation, arts (mural decorations & photos), industrial design (lamps and other utilitary objects) and fashion (dresses and accessories), where arts are the most important, and the other two provided me with practice and some knowledge.) Yoshi, 2007

ORIGAMI BLOG » Beautiful Folding and Cutting. 2012. ORIGAMI BLOG » Beautiful Folding and Cutting. [ONLINE] Available at: http://origamiblog.com/beautiful-papers-from-venezuela/2007/09/10. [Accessed 17 March 2012].Origami Tessellations | Yoshi – Paper Artist from Venezuela. 2012. Origami Tessellations | Yoshi – Paper Artist from Venezuela. [ONLINE] Available at: http://www.origamitessellations.com/2007/07/yoshi-paper-artist-from-venezuela/. [Accessed 17 March 2012].

Box Tri-Basic Diamond Brick Wave AngleBox

Experimenting with 2D panelling with ‘ptGridSurfaceDomain’ of 10

Experimenting with 2D panelling with ‘ptGridSurfaceDomain’ of 20

The ‘diamond’ and ‘tri-basic’ 2D panelling creates an aesthetic surface to the lantern’s form.The ‘brick’ panelling with ptGridSurfaceDomain of 10 has a very interesting form due to the twisting of the panels, however due to having square panels, it is not possible to recreate.

PANELLING - 2D

Box Box X Partition Diamond 1 Diamond 2

The ‘partition’ 3D panelling appealed to me as I liked the idea of having open sections to allow the light to pass through. However I will use this style to inspire me to create my own panelling style. I will use this panelling technique in particular sections of my lantern with a combination of 3D panelling.

PANELLING - 3D

I attempted creating my own origami tessellation that I could use to panel my nurb surface.The pattern I came up with consisted of triangles interlocking with each other, and I liked this idea a lot as it closely depicts the snake skin.The origami tessellation can also expand and contract to create a dynamic and alternating effect.However this pattern was very difficult to recreate on rhino due to the overlapping feature. I was able to create the pattern, though was not able to panel the surface entirely as there were a few gaps.

PANELLING - Experimentation

PANELLING – 3D Experimentation

Different 3D shapes were created and then panelled onto the surface. At first I tried to recreate the origami tessellation, however due to it's interlocking feature, I experimenting using one form. I liked the effect it produced in the middle of the model, however I didn't like how they became more narrow at the ends.I also experimented with other designs trying to ensure the panelling design were related to the snake.One of my panelling design consisted of a gradual change from the bottom to the top. However when I applied this to the surface, this feature was not very prominent and as obvious as I would like it to be.

PANELLING – prototyping

Paper models of different 3D panelling techniques which could be used on the surface of the lantern.

The top image shows a series of triangles which have been tessellated to form a continuous pattern.The image below shows a repetitive pattern of an organic shape which represents the snake's scale gradually getting smaller in size.

The first design interested me, however when I applied it to the surface of my lantern, the result of the panelled surface was not what I wanted and therefore I decided to move away from this sort of 3D design.

The iconic Federation Square is known for its prominent facade. Although it may seem that the pieces are random and are being placed accidentally, however the panelled facade follows a pattern of right angled triangles.The internal geometric structure of the building as well as the missing sections of the facade, create a very appealing design which I would like to recreate on my lantern.Referring to my natural process of snake skin shedding, I believe that this patchy look will further portray the process.

PRECEDENTSFederation Square

I found it easier to decide how to panel my model by drawing it out on paper and thinking about it rather than spontaneously

creating it. I separated the lantern into three different sections and then decided how to panel the surfaces.

The bottom of the lantern represents the snake's head which has already shed and therefore will reveal the most amount of light.

The middle section portrays the snake's scale which gradually begin to lose form in both directions, this is the dominant feature of the lantern as the 3D panels project out from the 2D panels in

random directions. The top part of the lantern is the snake's tail which has yet to reach the shedding stage and its scales are still

defined, however it slowly loses form and therefore the holes in the panel slowly decrease in size to represent this process.

PANELLING - ideation

Right View Top View Front View

FINAL DESIGN – orthographic view

Close up of top section Close up of middle section Close up of bottom section

I used 'ptOffsetBorder' with point attractor to create a gradual

change at the very top end of the lantern to depict the loss of

form of a snake's skin when shedding. I played around with

the minimum and maximum settings until I was able to achieve

the size of the hole I was happy with.

The command 'ExtrudeSrftoPt' extruded the 2D panels to a

point. I found it easier to create extrude to a particular point

but turning on several points by applying the command 'ptOffsetPoints' at various

distances.

'PtOffsetBorder' was used with a fixed distance of 0.2.

I didn't want the change between the open panels and

the closed panels t be too drastic and therefore I decided to apply this command on every second triangle to the row adjacent to

the closed panels

FINAL DESIGN – close up detailUsing Federation Square as a source of inspiration, I was able to recreate the patchy and structured pattern onto my lantern

PROTOTYPING

Cutting out multiple triangle panels and sticking them together, gave me a sense of how the panels would join together and the 3D shape they will form. Different light intensities were applied to the prototype and I determined that if the light source was too bright, it blurred out the entire shape of the panel and only the bright light can be seen instead of the structure and shadows cast onto the paper.From prototyping, I realised that I constantly forgot to leave tabs before I started cutting and this led to problems when trying to join two triangles together. I also will have to consider different tab styles in the next module.

When digitising my model in rhino, I didn't face too many issues despite that I wasn't familiar with the program. I created my surface by lofting through four curves and then manipulating the points to achieve the overall shape. During the process of digitisation, I wasn't able to turn of the points on and had to rebuild the surface. This not only allowed for the points to be turned on, but created a more smoother surface as it had fewer details.

One of the issues I faced during this module was deciding how to panel my surface. I had to keep my natural process of skin snake shedding in mind, and therefore got hung up on trying to fulfil this constraint.I experimented with different 3D panelling, even creating my own forms to represent a snake's skin. I even explored origami tessellations and created my own out of paper. However in the end I opted for a more simple approach as I remembered that I will be fabricating this into a real life model and decided it would be better to create a more simple design.

REFLECTION

CRITICAL ANALYSIS

Digital vs. Analog

The modern society has evolved drastically and technology has become a large factor in our everyday lives.It has provided many benefits and made tasks more efficient and effective to carry out.However is digital better than analog when it comes to design?

Technology and programs that enable designers to carry out tasks such as drawing and modelling in three dimension, amazes me as it takes designing to a whole different level. It allows designers to create more complex and detailed objects that can be modelled and prototyped in real life. Personally, I am not familiar with modelling programs, however I find that I easily pick up on how to use without the help of tutorial videos.

Digital technology may not be for everyone as there is a lot of thinking and logic going into the process of producing a design on the computer. Where as if it were to be made by hand in an analog manner, it would not require as many steps. Though with the use of digital design, the steps taken can be created in an instant.

Ultimately it comes down to personal preference. I found it easier when I sketched out and planned my ideas than to spontaneously produce them straight onto the computer. Therefore I believe with the combined use of analog and digital design, it can take designing to a whole different and more complex level.

V I R T U A L E N V I R O N M E N T S M O D U L E T W O - D E S I G NR E N E E J A C O V I D E S 5 8 5 4 3 0

Page 1


MODULE IV REFLECTION

ENVS 10008 2012 SM1 WEEKS 10 - 12

M O D U L E O N E F I N A L M O D E L : R E P R O D U C T I O N

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

I N T R O D U C T I O N

Spanning forward from the final concepts generated within module one [see above], my module two direction involved digitising the lamp in Rhi-no and establishing a viable panelling solution inspired by snake scales. The design process for this module was a ‘two steps forward, one step back’ method, where I found that reevaluating my base form was a necessity for the lamp to evolve into a structural, notional and aesthetic success. When it came to panelling a number of designs served as an influence, which I have elaborated upon. The main challenge was to realise my module one ideation within the design, along with resigning to the pos-sibilities that presented themselves in wholly digital design and editing.

M O D U L E O N E F I N A L M O D E L : R E P R O D U C T I O N

Having expressed the clear faults in the material of cream modelling clay in the context of my form, I altered my medium. Purchasing white air-dry clay, I created another model to the scale of 1:5. This model was dissimilar to those made in module one, in that I reverted back and embraced only solid shape. The caverns I had previously determined for the light source were removed and replaced with only trapezi-um prism style blocks of clay. This allowed for a more flexible approach to panelling.

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

D I G I T I S I N GM E T H O D 0 1 - T R A C I N G C O N T O U R S

Adopting the fundamentals of the second example means of creating contours on LMS, I proceeded to slice my model into approximately 1cm thick segments that fol-lowed the flow of the form. I initially perceived there would be an issue with this plan, since the lamp concept did not possess a more solid, block form; rather already having separate, shapely elements. I encountered an issue with my unique material at this point, the air dry clay readily crumbling and not cutting smoothly. I believe this trans-lated to further problems in the following step of tracing the 21 contours. I knew from the shapes I resulted with that the exported digital lamp would not contain the same angular sharpness that I had aimed for in my models/drawings of module one.

there would be AN ISSUE with this plan, since the lamp con-

cept did not possess a MORE SOLID, BLOCK FORM .

“”

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

D I G I T I Z I N G S E C T I O N A L S L I C I N G R E S U L T S

Following the prescribed video guides, I imported the scanned grid of traced sectional slices into RHINO and used it as a reference to create the curves of my model. I aligned these over a reference point in a vertical fashion, with each piece separated by an equal length of 1cm. This was pos-sibly too far when compared with the physical model, how-ever I was still in experimental stages.

I then lofted the vertical alignment of curves, merely to observe the resulting shape. From this first examination I could determine the overly or-ganic, uneven surface I would attain using these same contours in any augmented formation.

Straying from the original guide, I imported orthograph-ic top and front views of my clay model into Rhino using the PictureFrame command. From here I was able to rotate and relocate each of the contours in the top viewing window so that they became flush with the flow of the lamp. As I underwent this action the original shape of my lamp notion began to come forward.

From then on I was able to loft the contours and the result was a bumpy, exceedingly curved creation, which yet preserved the shapely principles of my original idea. A particular flaw I found with this digital representation were the extremely minute details which appeared on the loft-ed skin of the model. I lost the smooth sense of curvature and linear preciseness which my previous renderings had offered me.

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

D I G I T A S T I O NM E T H O D 0 2 - T R A C I N G P R O F I L E C U R V E S

Keen to see what simplified forms I could achieve with the same method, I removed many un-necessary contours, leaving only the peaks and depressions in the outlining structure. I lofted the curves and consequently developed a pointed, triangular-dominant shape, which realised my week module one philosophies of segmented continuity in natural life cycles.

Following the guide of the third example method for creating contours, I utilised orthographic imagery of my model as an in-dicator for the profile curves of my design. After positioning the curves in their most appropriate top and front placements, I was

able to embrace the tool ‘cross section curves’, which automatically filled in the appropriate contours between the many profile curves. I was impressed with the versatility of this tool, however found that my form would be yet again limited to an exceedingly curvaceous style, as was dictated by the resulting profile curves. This wasn’t entirely detrimental for the design, but dismissed my prior convictions about ‘linear meeting curvature’ in my model - an analogy for the pattern inherent in nature.

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

Having created the base profile curves and associated contours, I attempted to ex-periment with derivatives of the loft tool to observe how closely I could bring the digital model into accordance with my original clay model and renderings. I found that the option of ‘straight sections’ whilst lofting offered me the most sleek, square surfaces. As with the first method I tried, I found that the design was being overly littered with small and unnecessary curves.

Front view of a predominantly curved loft I formed with the contours. I found the shape here quite interesting and thus am considering the leeway to leave my model with an open end surface, rather than the initial closed surface I had de-termined.

Also reflecting the steps I took in the other method, I here removed the unneces-sary contours and created a straight section loft with a high simplification using control points. This form was my most favoured out of all that I created. The controlled uniformity of the curvature in the design was acceptable and even preferable over an alternative angular solution.

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

Week four’s resulting forms from experimentation with varying lofts and an alternating number of contours. As stated, the design in the far left column was the most successful. Its standard curves followed the shapely and linear fundamentals explored during previous weeks - where angles met flowing meanders in a harmoni-ous manner. The other designs I formulated were quite detailed - an aspect I did not expect from this basi-cally simplistic method of tracing profile curves.

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

D E S I G NP R E C E D E N T S

National Assembly for Wales [left] by Richard Rogers, UK. The timber ceiling for this design encompasses the idea of solid form in a fluid, organic context. I love the creation especially considering the materials used, where such thinly sliced and adjacently packed timber panels allow for the curvature of the design to come forward. I found many similarities between this design and my own results for week four, discovering it to be quite a pointer in my following adaptations of the lamp’s form.

Native Child and Family Services of Toronto [above], Levitt Goodman Architects, Canada. The wooden honeycomb like interiors of these half-spherical ‘bubbles’ held many comparable aspects with the 2D panelling achievable within Rhino. A notable factor of the construction was the combination of a rounded exterior skin with clearly angular inner ribs, which would work as a structural support. This is a factor I tried to adopt with my own future panelling solutions so they may physically act as a bearing for the lamp.

National Assembly for Wales by Richard Rogers, UK.

Native Child and Family Services of Toronto, Levitt Goodman Architects, Canada.


RMIT’s Swanston Aca-demic Centre, by Lyons Architects (2008), Swan-ston Street, Melbourne CBD. I was quite inspired by the atypical panelling on the building’s exterior skin, a formation of trian-gulated planes which alternate in angle to the tangent of the building’s surface. It was this inter-changing aesthetic style which created a sense of intrigue when it came to panelling my designs in weeks 5 and 6. The tech-niques here resembled the tessellation created via panelling a 2D grid with flat faces. The Swan-ston Academic Centre was an exemplar of this style, manifesting how a surface can be panelled with planar segments ex-tending into three dimen-sional depths. Of course the building’s fluctuation in colours was a key as-pect contributing to its uniqueness and archi-tectural success, allowing me to consider the visual effects of interchanging gradients between black and white within my final model.

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

P A N E L L I N G - A B E G I N N I N G

I began the panelling process by tak-ing my final designs from week 4 and attempting a basic 2D panel with the preset patterns in the library. I had some difficulty with this, hence why I also ex-perimented on my module one final con-cept. I realised this was because I had opted for a ‘straight section’ loft, with the resulting surface being segmented, rather than one continuous polysurface. Whatever patterns I endeavoured to panel could not be joined automatically at the seams of these individual surfaces.

I accordingly returned to my original contours trying to generate a differing kind of loft. As I tested the tools in the surface menu, I ‘revolved’ the contour curves to create a ribbed like design [fig-ure 04]. Although this had an aestheti-cally intriguing effect, the panels were not connected in a simple manner and did not have their BASIS in my NATURAL PROCESS of SNAKE SLOUGHING. Instead of persisting, I chose to take the advice of my tutor and step backwards in my design process.

the [library 2D] panels were not connected in a simple manner and did

not have their BASIS in my NATURAL PRO-CESS of SNAKE SLOUGHING

“

”

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

By re-lofting the contour curves I generated in week four, this time opting for a ‘tight’ loft rather than straight sec-tions, the outcome was a whole polysurface. I was able to further this ideal tessellation - the 2D custom panelling with finned curves. I still found the surface quite convo-luted and inefficient for the panelling process. A reevalu-ation of my form was in order.

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

A D

A P

T I

N G

M

Y

D E

S I

G N

I formulated an alternative in this ‘sheet-like’ adaptation of the original design [left]. I found this quite able to be tes-sellated, yet held concerns re-garding how I would build such a model. It would be quite flim-sy and would not retain shape.

In another alternative based on my previous designs was this more solid version of the snake scale ‘cascade’ [right]. This was a much more simplified form which I settled upon for the continuation of the design process in week six.

PANELLING EXPERIMENTATION

WITH ADAPTED

DESIGNS

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

T E S S E L L A T I O N - S C A L E SA close up of the snake scale solutions I formed when panelling in week 5. They ranged from curvaceous to angular depictions of scales in 2D for-mation. I also created custom 3D patterns, which looked very true to the characteristics of a snake. Here, I have drawn clear connections between my natural process and the tessellation inspired for the lamp.

C O N N E C T I O N T ON A T U R A L P R O C E S S

“ ”

P A P E R P R O T O T Y P E O N ED O W N F A L L S &

S U C C E S S E S

I formed my first paper prototype in week five of my new ‘solid’ design in order to grasp the limitations and strengths of the material. I found this a constructive exercise which particularly informed me about factors of scale in the design of my lamp. I did not perceive this model as a success since I was not able to deliberate a means of joining the components together, having to incorporate wire into my design to act as shaping supports. This was in part due to my limitations material wise - a flimsy paper being the only option available to me at the time. None-theless, I did approve of my method of generating a tessellated surface using repetition of shapes on a supporting strand of paper.

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

MARC FORNES bus stop competition entry for CREVE COEUR, Missouri, 2011

I came across THE WORK OF MARC FORNES in module two, a master of architecture graduate from London acting under the label ‘theverymany’. Pictured [right] is his collaborative work, a bus stop pro-posal in Missouri. I was drawn to this piece in particular because of the complexity of the curved panels, espe-cially in regard to their being linked together to form a skin. I liked the fact that no truly flat, base surface exist-ed within the form, that this solidity of mass would wholly come forward through appropriate layering of the swirl-ing panels. I found this conformed to the principles be-hind the lamp and in particular my own curved base form for tessellation. The caverns within each panel on the design were a factor I incorporated in all my tessel-lation proposals, a means of boosting texture and com-plexity with the aid of shadow/light.


Nex Architecture/Kew, the Times Eureka Pavilion for RHS Chelsea flower show, 2011.

Meanwhile, Paul Loh’s lecture on the design process behind the Times Eureka Pavilion [left] was truly inspiring when it came to panelling in weeks five and six, whereby the natural basis of flora (or specifically a leaf’s growth pattern) was resonant in the entire tessellation for the pro-ject. I loved the idea of cells within angular wooden caverns, and the differentiation between materials - the aesthetic outcome this produced. Light could readily penetrate the hollows of the structure’s skin, generating a fascinating effect.

the natural basis of flora...was resonant in the entire tessellation for the project“

”

F U R T H E R I N G P A N E L L I N G

W E E K S I X

In week six I attempted to further my design through continu-ing innovation on the panelling front. I created a number of differing ‘scale’ designs and panelled on the surface of my reconstructed form, all in an effort to reach a final design.

Utilising the ‘manage 3D library patterns’ command in the panelling tools menu, I created a new design, a square like scale panel with a raised cavern to gen-erate texture. These two designs featured the simul-taneous panelling, however encompassed differing numbers of panelling ‘points’ as part of their grids. The results stood to prove the variations in design when considering only one type of tessellation.

Another design I constructed embraced the panel custom 3D command. I made a solid [pictured above] scale with tri-angular cut outs (to allow light to pass through the skin of the lamp and increase aesthetic intrigue), panelling this over a surface domain grid. I found it had a very successful out-come visually, but the panels were not connected in any way, a clear issue.

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

Here I experimented with self-designed 3D patterns and custom 2D patterns. With each variation I found that a custom 2D panel of a repeated scale shape was the most successful for the set form. I also found that extruding the curves of the pan-elled surface to a unit of 1 created an engross-ing effect which would double as a structural type of ‘ribs;.

S C A L E S 2 D P A N E L

W I T H F I N N I N G

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

Set on the appearance of a 2D custom scale pattern with adjoining fins, I gener-ated some further alterna-tives for this design. I ex-perimented with an inner and outer skeletal structure, embracing the contours from the original loft. Fur-thermore, an adaptation was made to the base form at this point, an extension of the shorter end. This was made to extend the design, as all tesselation attempts seemed to cut off away from their supposed end-points.

F I N A L D E S I G N

W I T HI N T E R N A L

R I B S

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

The final design, as developed in Rhino. It fea-tured an exterior two dimension-al, curving skin, with fins span-ning parallel to the panelled curves. An inner support system encompassed natural con-tours, ribboning these singular curves to gen-erate surfaces which could po-tentiallt be cut from a sturdier cardboard.

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

50cm

O R T H O G R A P H I C V I E W S

2 D

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

P A P E R P R O T O T Y P E T W O C U R V E D, P A N E L L E D S K I N

I also went about physically testing the integral ideas behind my final panelling through paper prototyping. I created a three dimension-al scale skin of cardboard, connected through the ad-hesive of double-sided tape. I found paper folding a nec-essary and efficient means of generating 2D cells and edge ‘fins’ with only one plane of paper. The activity did not deeply explore the skeletal aspect core to the success of my proposed design.

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

A N A L Y S I S O F T H E O R Y A N D P R E C E D E N T S | R E F L E C T I O N

As an individual who had thrived on the prospect of ‘handmade’, humanist design in previous artwork and visual communication, the translation into a digital environment of ubiquitous and unknown potential required a sub-stantial variation in thinking. I have come to realise that ‘digital versus analogue design’ - a notion introduced in module one and typified in the tasks of the past three weeks - not only is a fundamental for favour in the sphere of architecture but analogically correlates to the foundational idea of the subject. In a world where pattern and mathematics volunteer themselves within the most natural of occurrences to generate a harmony (such as the analytical connections revealed in Kandinsky’s teachings of week four’s reading), so to has my module two design work attempted to reach such a balance. The association of this concept through the means of angular and curvilinear lines was expanded upon within this module, however a transition into a more digitally dictated, organic production of imagery was a step undertaken to fulfil the hypothesis of equilibrium that governed my design process.

With the question of panelling I attempted to further comprehend such a necessary stability between the digital and analogue through direct influence from my natural process of snake sloughing/movement. Here the ‘cell-like’ installations within the University’s Architecture building had a great impact on me, serving as a relevant exemplar of pattern and uniformity - merged with living, moving surfaces. The thought of consistency in design came forth within my final panelling solution, which served as a metaphor for the systematic fashion of life cycles, a resolution covered in the ideation stage of the lamp’s design.

The culmination of module two sees my form fulfil the intersection between these two entirely contrasting, but interconnecting methods of image fabrication.

Cell stye panelling designs as seen in the Architecture Building foyer, University of Melbourne.

Bella Ullmann Broner, Analyritcal Drawing Study, Kandinsky’s Teachings.

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

Page 1



ENVS 10008 2012 SM1 WEEKS 10 - 12

R E F E R E N C E S

• National Assembly for Wales: http://www.yellowtrace.com.au/2011/09/09/nerding-out-on-shit-hot-ceilings-part-2/

• Native Child and Family Services of Toronto: http://www.archdaily.com/120391/native-child-and-family-servic-es-of-toronto-levitt-goodman-architects/

• Marc Fornes Bus Stop: http://theverymany.com/2011/07/06/110706-first-place-creve-coeur-st-louis-mo/

• Eureka Times Pavilion: http://www.archdaily.com/142509/times-eureka-pavilion-nex-architecture/

• RMIT Swanton Academic Centre: http://www.rmit.edu.au/capitalworks/sab

SARAH FRARACCIO539769

Virtual Environments, Semester 1, 2012

MODULE TWO

AIRFLOW KEY IDEAS

The key principles and directive outcomes of module one must be re-visited in

order to advise the design process for module two.

To facilitate the representation of air! ow as a natural process a key descriptive

set governed the conclusive designs in the " rst module, these words included

CASCADING, MEANDROUS, SWEEPING and FLOATING

The form coincided with these descriptive guidlines but presented an elegant

yet simple embodiment. Module two will allow panelling to convey deeper

meaning in regards to the natural process so that both the base form o# which

is panelled and the panelling itself will collectively represent the process.

The ‘sweeping’ nature of the process could be conveyed with overlapping pan-

els and the ! uctuations of energy could be represented by panel size, panel

direction, o# set panel borders forming cutout areas, lattice grids and varied

panel shapes.

AIRFLOW DIGITIZATION

The slice method was used for digitization as the form pre-

sented a relatively ! uid shape that could easily be re-built

using slice contours.

Slice lines were drawn on the model and skewers inserted

into some areas of the model for referencing.

The slices were laid on graph paper and numbered in se-

quential order. This was photographed and imported to

Rhino where each slice was traced using the same amount

of control points.

AIRFLOW DIGITIZATION

Each contour was horizontally stacked to rebuild the clay

model at the same cutting interval as was sliced. These sur-

faces were then lofted to form a digital representation of the

model. Di$ culty was experienced when stacking the contours

as the skewer mid points were not referenced clearly, this

led to the need to use a manual placement method whereby

contours were positioned by eye. This method, although not

favourable, led to pleasing results and a loft was undertaken.

The loft as displayed below resulted in quite a detailed repre-

sentation of the model, the lofting process accentuated sur-

face curvature that was not present in the original clay model.

In response to this outcome, several manipulation processes

were used to rebuild the surface.

Along with these processes, the surface was turned on a

horizontal to represent the intended placement of the form,

this enabled guidance for panel direction during the panelling

tools process.

Cage edit toolSmooth tool

To correct the exagerrated dilations

of the surface, the smooth tool and

the cage edit tool were used. These

dilations do not re! ect a ‘sweeping’

or ‘! oating’ process but suggest in-

stability and volatility. The smooth

tool reduced the complexity of the

surface which would have been dif-

" cult to panel aesthetically

The cage edit tool decreased the

bulges in the surface at its lowest

point, causing the form to ! ow in

an assymetrical downwards direc-

tion. The direction of the object

! ow is paramount in conveying the

energy ! uctuations of air! ow.

In this step, the ends of the surface

were trimmed to neaten the 3D

form and facilitate panel applica-

tion.

AIRFLOW MANIPULATION

Rebuild points was then used to further regulate and

smooth the surface. The number of points was reduced

to 10 in both the U and V direction. This smoothed the

surface without altering the intended ! ow and form.

This lofted surface was saved and then used in the 2D

and 3D panelling processes.

AIRFLOW MANIPULATION

Box panelling Wave panelling

Triangular panelling AngleBox panelling Triangular panelling with a wider

surface domain- less points

2D panelling was applied to the lofted surface to experiement with panel shape and the ways in which it could contribute to the overall repre-

sentation of the natural process. The box panel presented a highly geometric surface that did not represent a ! uctuating and ! owing process.

The wave and angle box panels represented a directional motion but the minimal di# erence in panel size hardly express the energy ! uctuations

of the process as it passes over the surface. The boxX and triangular panelling surfaces better represented the undulating energies in the form

of varied panel size and direction. The incorporation of a wider surface domain produced pleasing results in exaggerating the desired proper-

ties of the natural process. These experimentations will in! uence 3D panelling approaches and will aid in di# erentiating between e# ective and

non-e# ective outcomes.

AIRFLOW 2D PANELLING

BoxX panelling

Box panelling

Pyramid panelling

Custom diamond panelling

AIRFLOW 3D PANELLING

Experimentations with preset 3D

panelling further revealed the desired

direction of the panelled outcome.

Neither the box panel nor the pyra-

mid panel produced an outcome that

corresponded with the intended

re! ection of the natural process.

Both outcomes appeared too robust

and globular thus did not re! ect the

sweeping and meandrous ! ow of

air! ow.

Custom 3D panelling was then ex-

perimented with in anticipation for

a better suited outcome. The surface

points were o# set at di# erent lengths

using a varied curve attractor in order

to retain a trace of the original shape

unlike the two previous panelling at-

tempts. A custom diamond grid was

developed and panelled. This process

improved the outcome but still pro-

duced a surface that failed to depict

the wavering energy path as the form

! ows from start to end. The triangular

patterns, though, proved e# ective in

portraying directional ! ow as they

join at the points and direct the eye

from the start to end of the form.

AIRFLOW USING CUSTOM 3D PANELS

Custom 3D octagonal based pyramid

Custom 3D hexagonal based pyramid

Custom 3D irregular diamond panelling

Custom 3D panelling was further

implemented to produce some inter-

esting iterations that contributed to

further development. An irregular dia-

mond shape was generated in the grid

points and applied to the surface using

the same two panelling points grids

as the previous iteration. The energy

! ux is evident in this outcome but the

multiple directions of the panels sug-

gest an open and dispersive process

of which does not relate to the visible

! ow of the intended outcome. The next

two iterations succesfully conveyed

the visible direction particularly where

the points mostly follow the same path

until the " nal fall where the directional

points face various points- indicating

the dispersion of the air after it passes

over the solid surface. The direction-

ally pointed apexes of the panels along

with the overlapping appearance of

the panels proved to be e# ective in

conveying the ! ow of the process and

enabled direction in further develop-

ment.

AIRFLOW USING CUSTOM 3D PANELSFurther experimentation with custom 3D

panels was employed on the lofted sur-

face using a denser panelling points grid.

This method resulted in highly geometric

forms. The " rst attempt employed a di-

agonally pointed diamond shape and pro-

duced a form that conveys a ‘static’ nature

rather than the intended ! uent process.

The second iteration produced a more

uniform ! ow but still failed to capture the

! uctuating energy of the air movement,

this could be due to the relatively small

panels not emphasizing variation enough.

Custom 3D patterns were then investi-

gated where an object is projected onto

the lofted surface to form the panelling.

Relative to the interest in representing en-

ergy concentration and dispersal, a hollow

triangular object was projected onto the

faces of the form. The di# ering sizes of the

empty space on the surface convey this

compression and di# usion as the form

! ows from beginning to end.

This technique could be further exag-

gerated and altered to represent the

intended process more thoughtfully and

aesthetically.

Custom 3D diagonal diamond panelling

Custom 3D triangular panelling

Custom 3D panels using a hollow 3D triangle


3D diamond panelling using a wider surface

domain.

Custom 3D panelling using a hollow diamond

shape

The method of applying a custom 3D shape

onto a surface was further explored here where

a 3D hollow diamond shape was panelled on the

form. This initial shape not having a regular base

shape resulted in the panelled surface appear-

ing cluttered. The geometries, in some areas

proved to be impossible to contruct with curved

edges and blank areas where panels were not

able to be joined. Appearing almost ‘crystaline’,

this outcome does display a dispersion of energy

and ! ow but appears too disheveled to repre-

sent a ‘sweeping’ and ‘cascading’ natural process.

Revisiting the process of widening the surface

domain to produce fewer panels produced this

e# ective outcome which portrays the elegant

process whilst still appearing quite geometric

rather than organic. A custom 3D diamond pat-

tern was applied over the widely-spaced points

and generated a form that vaguely addresses

the ! uctuations in energy with the panel size

and orientation but also the ! ow and direction

of the air illustrated by the panel placement. This

could be dramatised more in further develop-

ment. Aiming to portray in an alternate sense

the ! uctuating energy of the process, cutout

areas were designated on this surface using the

o# set faces border tool. Larger cutouts demon-

strate wider dispersion of air particles but the

overall shape of the outcome didn’t successfully

embody the ! ow of the process. Further panel-

ling using similar principles could produce more

e# ective results.

3D panelling with o# set borders on selective

surfaces.


The Custom 3D variable process was used in

these outcomes whereby two objects are pro-

jected onto a surface in a speci" c order. This

method was incorporated in an attempt to

illustrate the undulating energy of the process

where acertain shape would represent the low

energy areas and another would represent the

high energy areas. In the " rst two attempts, are-

as of dispersed, low energy air were represented

by the hollowed objects and the concentrated

regions were depicted by solid objects. The " rst

attempt used point attractors to specify areas

where concentration is at its height. The second

attempt used a curve attractor with its closest

regions at the high energy points. Though this

produced an e# ective re! ection of the natural

process, the small panels still re! ect a harsh, er-

ratic process. Larger panelling employing these

principles of di# erentiation between areas may

produce a more suited result. The procedure

that resulted in the next iteration involved form-

ing a skeleton for the model using " n edges and

removing faces from the surface and replacing

them with arrow-like panelled areas. These hol-

low spaces portray areas of dispersed energy

and the arrow panelling directs the eye in the

path of the air movement. The original lofted

surface has not been altered enough in this out-

come and the ! uctuating process could be more

exaggerated.

Custom 3D variable panelling using point attractors

Custom 3D variable panelling using curve attractors

Fin edges and missing panels

The most e# ective outcomes of the process so far have been derived from a process

that employed large panelling and cut-out areas to portray the energy dispersion as

the form progresses from start to end. This outcome both represents this process but

also incorporates a visual pathway into the panelling where the wearer can observe

the top-facing panels of the form to further understand the concentrative and disper-

sive nature of the air! ow energy. This way, both the wearer and on-lookers can ob-

serve and understand the process just as air movement can be experienced personally

or viewed from afar.

The surface was panelled with a 3D diamond grid and key faces were selected to be

o# set. The top view of this outcome is diplayed below where the path of the air! ow is

marked in blue. One can imagine the interactions of the air! ow with the human sur-

face and link it to this meandering ! ow of energy displayed by the panelled surface.

AIRFLOW GENERATING THE MODULE OUTCOME

AIRFLOW MODULE OUTCOME

AIRFLOW PROTOTYPING

A triangular panel was contructed out of standard printer pa-

per (at left) and out of 250gsm card (above) to compare and

contrast the structural and textural qualities. As expected, the

paper model displayed signi" cantly weaker qualities than the

card model. When cutting the paper model, the knife blade

quite easily tore the paper surface when cutting small areas.

A pressure test was applied to the apex of the panel in each

model resulting in no change for the card model and a crum-

pling result for the paper model. The cutout center of the

faces didn’t indicate any notable structure faults in the card

model, this could indicate that this strength of card would be

suitable for model making. The panelling technique proved

to display pleasing results in its response to light.

AIRFLOW PROTOTYPING

A simple panelling principle was tested where

triangles of gradually decreaing size were cut from

this ! at sheet and folded upwards. This could be

used to illustrate the gradual ! uctuation of energy

in movement where the 2D triangles could be

replaced by a similarly orientated 3D panel.

Ribs are constructed to test the

strength of a " n edges struc-

ture. Strips are connected with

notches as shown below right.

Ribs could be employed struc-

turally or aesthetically in the

panelling process but, due to

strength and durability issues,

ribs would need to be contruct-

ed with a card material rather

than a light paper.

Scoring is tested in the making of these ! at faced

panel strips. Depending on the weight of the card

or paper, scoring may need to be repeated in or-

der to form a clean fold.

AIRFLOW PRECEDENTS

These surfaces by Giles Miller’s London studio

employ a directional technique to their surfaces to

portray changes in patterning. Similarly, the e# ect

of the direction of a panel coud be used to depict

movement, ! ow and intensity of energy.

This paper dress by apparel designer Alexander

Hrustich depicts areas of intensity using varied size

cubes as panels. This variable e# ect could be em-

ployed into the panelling process using the Custom

3D Variable tool.

The planned designs for Park 51 Islamic Com-

munity centre in New York provide an excellent

example of areas of intensity and dispersal in the

prospective design for the building’s facade. The

same patterning is used but the panel net is thick-

er in areas of intensity. This technique could be

employed into the panelling of the lantern where

cutout areas of panels would illustrate intensity

re! ective of their size.

AIRFLOW PRECEDENTS

Overlap and layering in these lighting pieces display ! ow

and directional motion. The panelling could depict the

movement of air! ow in the form of a similar overlapping

process where panels follow a path of motion and energy.

This origami clothing

piece is constructed of

multiple fabric panels,

depicting a simple 2D

panelling technique, the

directional ! ow of panels

is a notable aspect of this

design that could be em-

ployed into the panelling

process of the lantern.

depic

Cutout shapes along

with the converging

geometry of the pan-

elling of this ceiling

installation evoke en-

ergy ! uctuations whilst

displaying a panelling

shape that could be

implemented into the

lantern concept.

AIRFLOW ANALYSIS

The " nal reading for module one; “Visual Thinking for Design” Ware, Colin

(2008) explored the creative process that we undertake in any planning or

designing activities. Ware states that “the power of sketching comes from

the ability of the scribbler to visually interpret their thinking” and, in my

opinion, this holds true. Analog design allows our minds to manipulate our

thoughts and translates this mental creative process onto paper. Consider-

ing the convenience and accessability of digital design methods, it would

be easy to eliminate the use of this method entirely particularly when we

are able to produce a more accurate representation of our desired outcome

in a fraction of the time it would take to achieve using an analog process.

The retention of analog aspects in the design process establish an impor-

tant connection with the creative process and strengthen the initial visual

concept. Maybe I am more analog-inclined but I will always feel a greater

connection and understanding for design projects with which I have had

some kind of analog sketching, constructing or testing experience. Digital

design processes are surely helpful in the development and re" nement

stages of design as they enable multiple iterations of a single design option

in rapid time frames. As a consequence though, beginning a design solely

relying on digital media loses that creative connection with the concept

with which the brain can manipulate. Modern design and conceptualization

seems to focus itself on digital technologies where an object will be de-

signed a certain way partially because the designer has access to that tech-

nology. Considering many of the precedents mentioned previously, digital

design has been paramount in the conceptualization, design, development

and fabrication of the outcome. The ‘origami’ jumper could surely have been

conceptualized without digital design but would almost be impossible to

construct without design aid, as fabrication requires high accuracy.

Conclusively, both analog and digital design are necessary in this day-and-

age and the relationship between them will need to remain strong if we

want a future that continues to produce ‘good’ design.

Arthur Wen-Jun Wei

Student no. 555279

Semester 1 2012 Group 16ENVS10008

Module 2

Clay Modeling: Recall...

Digitizing the model from an analog form into digital one, I attempted the contour method of modeling geometry by tracing sectional sections.

It is impossible using clay to create bended paper strips, so I simplified its appearance. This approach is also in aids of simplifying the process of digitization.

Digitization (Initial Approach): Tracing sectional slices

Curved surface makes contouring process difficult. The result indicates that the approach by lofting sectional slices is unfit for my model.

Critically,this result two opening areas on two ends, which does not match to the physical model, thereby failing to convey mechanisms of the natural process - Dynamics of waves observed.

Digitization: Directly modeling in Rhino

Alternatively, I went back at the initial form of the model from Modulel l (pp. 8) where each paper strip is connected as layers.

Thereby, I directly build the model in Rhino using command - InterpCrv to draw curves with respect to the constant interval.

Using command - Rotate 3D, each curve is able to rotate in respect to the x-axis.

This model is in scale of 1:5. Each inteval is increased by 2 cm in total height of 40 cm, while width matains the same as 20 cm. Each curve is roated by 18

degrees in total of 20 curves, which makes a complete circle of 360 degrees.

This conresponds to one of the mechanisms on dynamics of waves from Module one (pp. 6 and pp. 25) “At the same origin, it ends at where it begins”.

Using command - Loft by selecting curves in order.

Orthographic photos

Orthographic drawings

Further Digital Elaboration: Recall mechnisms of dynamics of waves

I realized the simpilicity of lofting model does not fulfill any of these machnisms stated above.

Then, I hold back and look at the initial model, I began exploring different approaches other than lofting.

To build the design of paper strips as the model, I found using command -- ExtrudCrv is effective.

‹ Wave never change its initial shape and wavelength

‹ Amplitue decreases gradually as energy depletes

‹ Every transformation is generated from its origin (cetre of ripple)

Critical Analysis: ExtrudCurved Model

This extrudcurved model conveys mechanisms of the natural process successfully. However, each extruded

curve is disconnected but attached with one central point only, which makes the model unstable and

unable to be build.

Left: 2D Tri Basic Panel

Above: 2D Diomand Panel

Panels are overlaped where they stick out from another panel, which makes the fabrication impossible.

Panels are disconnected, creates empaty area in the centre, which makes fabrication impossible.

Paneling ex

periment

I decided to utilize panelings tool and lighting effect to compensate the loss of original appearance in relation to convey mechanisms of the natural process.

Conclusion: Go back to the lofting model

Panelling: Basic paneling experiments

2D Box Panel 2D Triangular Panel 2D Diomand Panel

2D Diomand Panel Rib with Notch (Both Sides)

2D Tri basic PanelRib with Notch (Point Attractor)

2D Wave PanelFlat Panels attched to Ribs

2D Custom Panelwith Lofting

3D Custom Panel(Point Attactor)

Offset Borders Flat Panels with attached to Ribs (Point Attractor)

3D Custom Variable Panel (2 Objects & Point Attractors)

3D Custom Variable Panel (3 Objects & Point Attractors)

Panelling: Further experiments

Precedent Recongnition: Suspended Luminaire

This precedent is a significant source of concepture inspiration in terms of both structure of panel and lighting effect. The suspended sculpture is composed of thin strips

of aluminum and powered by a snake-shaped LEDs, alternates between light and shadow. Its continuous exploration of patterns and light source seemed to creating the impression

of a moving organism.

This suspended luminaire is in features of blades and long snake-shape LED, which is inspired by the deep space creature from the dark space. It intends to explore designs that beyond the usual scope of trends and patterns.

This inspires me to dive into the design of fine edges and the use of long shaped LEDs, in which I am excited by its potential.

Application: Ribs with Notches

Taken the conceptual inspiration of fine edges from the precedent recongnition above, I decided to elaborate the model by using

Ribs wih Notches.

The composition of thin strips alternates light and shadow, would result a realm of movement in the space.

I chose 2D Diomand panel as the base for elaboration because its three-dimentional structure allows me to think out of the box.

The diomand panel (spiky shape) extends the responded mechanisms of the natural process further beyond the boundry of its initial appearance.

Command - ptFinEdges

Critical Analysis: Ribs with Notches

The structure of Ribs with Notches is unstable may lead to the final model collapse.

Addressing this issue by adding flat faces to increase its stability. However, the flat face is restrict to be built outside of the ribs, which blocks the original appearance.

To compensate this issue, I focused on 3D paneling instead as it is offseted and built upon on a surface, which supposes to be a more stable design. This will be developed along the following presedent recongnitions and prototypes.

Precedent Recongnition: La Fabrique Sonore

This presedent recongnition is directly relavent to this project in terms of methods and materils used. La Fabrique Sonore is

composite of aluminium & polyethylene that combines computational design techniques with

ancient paper folding techniques.

The structure is composited of basic triangular panel in forms of pyramad, which is able to support a 345 cubic-meter suspended structure suggests its potential stability. This has

inspired me to dive in and explore the power of basic geometry, triangular panel.

Prototype: Triangular panel - Pyramid

Upon on the observation of precedent recongnition above, I create the prototype of pyramid built by triangular panels.

The difficulties I faced were fabrication and cutting papers . I manully process drawing and cutting, which leads to inaccurate measurement for modeling, Learnt from the lesson that I will rely on computational design, Rhino by using command - ptunrolledFace to accurately design unrolled faces for fabrication.

To immitate the outcome of command - ptoffsetBorder by cutting holes on the pyramid surfaces. Overall, I found the triangular panel is firmly stable as it does not collpase even if being transformed into the fine edge structure.

Precedent Recongnition: Corcoon Lamp

f

Upon on this presedent recongnition, the ability to give users to control light’s character to match the mood of environment, is the ultimate outcome that I would like

to achieve onto my final design.

The Cocoon is in a form of shell that inspired by the metamorphic behavior of insects.

This precedent recongnition is a signifiicant source for one particular lighting effect that I would like to achieve. The geometry is formed by spun threads, which wind around the light source. Through its reflective surface, light goes further into the space and provides desired color contrast. A linear elements applied around the luminaire not only assure protection of the shell, but also enables users defining different positions to create desired optical appearance.

Application: La Fabrique Sonore - Corcoon

Presedent: La Fabrique SonoreApplying the pyramid panel that developed from the prototype experiment, which is achieved by using command - ptPanel3Dcustom. This geometry increases the model’s stability in comparison of modeled by ribs with notches.

Presedent: Corcoon LampTo achieve the ability of giving users to control light’s character to match the mood of environment, I decided to think out of the box by altering the pattern of geometry while maintaining the responded mechanisms of the natural process. Different patterns allow the creation of desired optical appearance.

Altough the structure of LHS is different from RHS, each pyramid is still transformed proportionally in respect to the angle located, which corresponds to one of the mechanisms. In addition to the resonded mechanism that all transformation of pyramid still generated from the centre.

Mechanisms of natural process (Dynamics of wave)

‹ Wave never change its initial shape and wavelength

‹ Amplitue decreases gradually as energy depletes

‹ Every transformation is generated from its origin (cetre of ripple)

RHSLHS

Application: Suspended LuminairePresedent: Suspended LuminaireMy initial attempt to build fine edges by ribs with notches failed due to unstability of the rib strucutre.After improved the stability by using triangular panel, an alternative approach to build fine edges is by command - ptOffsetBorders.

Using point attractor to adjust the size of holes to correspond to the third mechanism of the natural process. That is,

Amplitue decreases gradually as energy depletes

Further, the composition of fine edges when powered by a snake-shaped LEDs would alternate the contrast between light and shadow. Its continuous exploration of patterns and light source

would likely create a realm of movement in the space.

Material Effects: Colors of prototype

To test the material effect on changing color of prototype, I chose the combination of both black and white color as these two colors are colors only allowed. By this, I would like to achieve the idea of Taiji.

This is achieved by using command - ungroup and group to separate the model in four different parts, changes the color individually.

This model with Tiji’s idea conveys an aggresive sensation. However, due to its complicity, might this turn to be a clumsy sleight of hand? I will then use white paper entirely as I believe simplicity is the best aproach to convey messages.

Final Design: Orthographic drawings

Top

Right

Perspective

Front

Potential Lighting Effect

Critical Analysis

In Module ll, I began familiar with digitization by transforming the analog design into digitial one. I was personally excited about the challeges brought from the voxel studio.

In this virtual realm, it is significatly challenging for a beginner to adopt all digital modelling techniques within a short period of time. The jouney that overcomes challenges was extremely difficult, however, at the end of this project, I gained a strong sense of accomplishment.

Importantly, through this jouney, I have learnt how to itentify problems and establishes suitable strategies, which allows me to think and visualize as an architect.

Personal Reflection

To be critical on the final design, there are three keys features that I would like to refine in the Moduel lll.

First, I will modify the size of holes on each panel as I felt that there is a need to experiment different features of command - offsetBorders. See examples on the right:

Second, I will extend the rotation of model on the very end of the opening area. As after the model being panelled, the initial appearnce is changed. I shall make it into full raotation - 360°, otherwize it fails to correspond to one of the mechanisms of natural process observed - every transformation is generated from its origin, it ends at where it begins.

Third, I will alter the no. of surface grids to experiment whether simplifying the no. of spikes would produce better outcomes.

These three points will be tested in the Module lll.

WINNEY ZHAOStudent no: 558552 Semester 1/2012 Group 15

Module Two

Module OneOptical Art

Dominance Portfolio, Blue Bridget Riley 1977

In Module One I have investigated upon the wing of the fly and fascinated by the discovery of the physical phenomenon - thin film inference that occurs on the wing, which colours can be seen on the wing of the fly if it is placed on top of a dark surface. Since this related to optics I therefore shifted my research slightly to looking at op art. Using principles of op art, a curving, dynamical wing-like shape is established and has developed into a complicated form. In this module, my aim is to simplify this form to enhance its elegance and attractiveness, where I hope my design to be curved and twisted or twirled, it will be then constructed with sophisticated paneling and hopefully, my final design can play tricks with the eye.

Watercolour sketch of final design shape – the “op-wing”

SimplificationStage one

The form is simplified from nine petals into three petals. Two different rearrangements have been tried which is shown above. The first trial demonstrates three petals being rotated and attached 120 degrees next to each other; this shape seems rather stable however the problem occurs within the placement of the light source where I want the light to be placed inside the design. To solve this problem, trial two is made where three petals is tagged to one joining and spreads into a direction within an acute angel. The light source can be now placed inside the joining of the three petals, yet, this shape lacks attractiveness as it seems to look like three old leaves attached to each other.

SimplificationStage two

Further simplifications have been made, where one petal is used only, this is to stress the original concept of the wing and solves the problem of where to place the light source. The example on the top row has some curves to however looking blunt and heavy. I therefore enhance the shape by twisting its top part, the limitation now is that the entire design looks static and seems as it it is a screw which lacks elegance and 'movement'.

(What I mean by movement is how there is a light, dynamic element or feeling to the shape, this is quite subjective).

Precedents Optical Architectures

Vega Victor Vasarely

1957 Acrylic on canvas

195x130cmThe painting presents our eyes with contradictory information as we read part of the piece diagonally and other parts horizontally and vertically. The painting practically forces us to move backwards and forwards where at the same time the field appears to move, expanding, contracting and undulating. A 3D movement is created through the presentation of the 2D plane. The architecture exemplified the basis of this painting, the building budges out, when viewed from far, it appears to be magnified. The use of concave and convex can be adapted into my design.

“Movement does not rely on composition nor a specific subject, but on the apprehension of the act of looking, which by itself is considered as the only creator.” - Victor Vasarely

Photograph by Prishi

Imageshttp://groups.yahoo.com/group/Hindi_Jokes/message/9952http://morfis.wordpress.com/2011/09/05/optical-illusions-in-architecture/

Art exhibit in Munich, photograph obtained from Morfes.

This installation is delicately designed in a twirl where the stairs are connected by the twisting of the bottom and top. The curves offer much visual dynamics. The elegance of this shape is much appreciated which could be adapted into my model.

http://groups.yahoo.com/group/Hindi_Jokes/message/9952

SimplificationStage three

Two models were developed from ideas obtained from Vasarely's Vega, the body of the first model is modified with a sunken surface and the model is then added with a bulging design. The outcome is disappointing since it looks like an eye ball which associates with horror and gives an irritating impression. I therefore abandon this design and explore further trials.

Finalisation and Digitalisation

The final model is developed from the twisting stairs, the idea of twisting shows the idea of a flexible wing, which the curves adds beauty to the form. The pasticine model was constructed in the scale 1:5. In terms of digitizing, the model had been cut into 11 pieces, 5mm in height and placed upon the 5mm grids.

The limitation of this method is that the original shape is distorted due to the softness of plasticine. The first digital model is constructed by lofting. Inaccuracies from both cutting and digitalization have distorted my model greatly in which refinement is needed.

DigitalisationRefinement

Here are several trials that were made by manipulations such as lofting, rotating, and managing control points. This process is rather difficult and time consuming because the form was very easily distorted.

DigitalisationRefinement

The final form is established above shown in different view elevations. I believe this form is a very close representation of my original model; it exemplifies qualities of the wing such as comfort, elegance and strength.

Back view Left End Elevation

Main Elevation

Right End Elevation

Paneling Experiments2D Custom

Basic 2D Box Panel Basic 2D Large Triangle PanelBasic 2D Triangle Panel

Panelling Experiments3D Custom

Precedents Optical Patterns

image via: The Independent UK

The image above depicts The Wasteland by Juan Muñoz as an interactive piece that creates a sense of uncertainty in the mind of the beholder. The shapes confuse viewers as whether it joins together as a flat horizontal piece or a vertical piece where it extends to the wall. The lightings and shadowing has an immense effect, where under consideration of opening and closed spaces, the yellow part could be the opening of the maze.

image via: Allposters

image via: Travelblog and ASL

The images exemplify optical patterns which were used in ancient architectures. It is important to acknowledge that Architects of the Classic Era worked mainly in stone, and the ancient Romans applied knowledge of optics and perspective to create the amazing optical illusion mosaic floors shown on the left in which the rhombuses create an illusion of an uneven, almost folded surface. The painted floor of Tokyo's Sunshine City shopping center depicts the tessellation of the cuboid, the light, grey and dark paneling again establishes a 3D effect to the viewer. Furthermore, the examples below are also optic patterns which are created from a flat plane. The difference between light and shadow can be adopted into my design by opening and closed spaces, such that the dark planes could be the opening space.

Images from:http://www.spaciousplanet.com/world/photo/9227/impossible-cube.html

Painted floor of sunshine city in Tokyo

Precedents Optical Architectures

Building in Hartford, Connecticut

Images viahttp://www.flickr.com/photos/95438214@N00/875196449/http://visualfunhouse.com/reflection-optical-illusions/building-reflection-optical-illusion.html

Open & closed space & reflectionBuilding Reflection Optical Illusion is an effect that makes multiple buildings appears inside the columns of skyscrapers. The illusion is created from the lining of window after window and reflections of the gloss or reflective material. The columns are staggered like a stair case you It can almost be disorienting deciphering which is real and which is the reflection. This is an example of a closed space, yet, to achieve this effect the selection of paper is important as some are made with a degree of reflection. In other means, the paneling could adopt the zigzag columns to achieve this effect. The problem lies on the difference between the flat surface and the curved surface of my model which the overall effect could be difficult to achieve.

Open & closed space & Optical IllusionsOur eyes are fooled by the zigzag lining of the black and white squares to believe that the building is built in an irregular way, where actually the orange lines are horizontally laid parallel to each other. Referring to the paneling of my model, it could be designed in a zigzag pattern, with parallel linings of opening spaces in between that are shifted slightly instead of one next to each other.

Café Wall Illusion- Docklands Melbourne byarchitects: ARM, Bates Smart, Woods Bagot

Precedents Open and Closed spaces

Image viahttp://www.ateliermanferdini.com/http://cubeme.com/blog/2010/01/18/enclosed-open-house-by-wallflower-architecture/

Linear OpeningsFocusing the light and shadow on the floor which are cast by a hollow roof design, which it is designed in a repetitive and linear manner. The effect is beautiful in a way that it is ordered and comfortable. The openings of my lantern could be designed in a similar manner that it is linear, repetitive and ordered.

Grouped Openings The installation aims to blur the distinctions between what is living or non-living, organic or technological, promising or threatening, true or synthetic. I am interested in its arrangement that it is grouped and openings face upwards. The effect observed within the installation is elegant, dramatic and powerful.

Enclosed Open House by Wallflower Architecture Painted Canvas, Kyoto Japan by Atelier Manferdini

PrototypingForm testing

The approximate form of my design is modeled using paper strips; from this experiment I have learnt a few properties. Paper as a 2D material can be folded or rearranged to form various 3D shapes. It cannot stand on its own unless folded, which folding seem to be its secret ability to increase its stability and strength. The model is constructed using many curved or bended paper strips, the bending property allows paper to be used creatively also interactions allow it to incorporate on its own without using glue stick. The model exemplifies a complete open space, as shown above, shadows are casted at all different areas and thus openings are important to establish optical effects. The limitation of this model is that it is not constructed using one piece of paper which the actual form of my model is not fully presented.

PrototypingPanelling: Open and Closed Spaces

I have To the right is my zigzag design developed from the op art patterns. I am interested in the open and closed spaces that inform the pattern. The openings allow the LED light inside the lantern to spread out; the overall effect of the lantern depends on the design of the panel as well as the pattern of openings. To the right is a demonstration of how the openings could be designed. The light and shadow effect could create a 3D optical effect.

Interestingly, while formatting the photos, I realized that these shapes look differently when it had been rotated 90 degrees, this way a new shape could be formed by the joining the edges. The focus of these models is to test the sizes of openings and how this relates to the overall aesthetics. Obviously, patterns with framing cast a beam-like shadow which adds visual interest.

Further Digital ModificationOpen and Closed Spaces To the right is the shape

developed for panelling. It is in a zigzag form.

1 This model demonstrates opening spaces that lines in a linear, repetitive and ordered manner.

2 Opening spaces in a grouped, upward looking manner.

3 Decreased the number of off points to test for a different effect. The openings are lines up in a parallel yet shifted manner. The overall effect is not pleasing because detailing of the form is missed where the panels are too larger.

Testing Model 1 Tesing Model 2 Testing Model 3

Extended Digital Modification3D Custom Variation

Two different panelling designs are used hoping to enhance the design in a more complex manner. Yet, the effect is not pleasing because the variation in sizes of the panels gives an disordered and awkward impression. The model becomes much less appealing with openings.

There are joining problems encountered where the two panelling designs cannot be puzzled perfectly.

I therefore decided not to use this technique and go back to testing model 1, this model seems the best to me because of its linear, ordered openeings which owns the merit of serving comfort and pleasure to the eye. I do not think I should further develop this design because adding complexity worsens the design to a degree that it may result in chaos or even disasterous.

Testing Model 5 Testing Model 6 Testing Model 7

Final ModelOrthographic Projection

Top View

Isometric ProjectionRight End ElevationFront View

ReflectionI will reflect upon three main points, firstly, what I have learnt from digitalizing my model; secondly, the challenges I have faced and finally the limitations of my final model.

The completion of module two have extended my knowledge about digital modelling. Digitalization is about converting analogue items into digital format and the benefit of digitalization is that it offers many possibilities and opportunities for designing objects or architectures. The idea is that shapes which was considered to be very difficult to represent by hand could be managed and clearly presented through computers, furthermore, there are also a variety commands in Rhino to design, improve or extend the complexity of our designs, such as extrude curves for designing my panels, 2D/3D custom panelling and much more. This opens the gate to much more opportunities which concepts or designs that were once believed impossible to make became possible. As the world is rapidly moving towards digitalization, many architectural projects are completed using computer soft wares and what I need to do is to improve my skills in using Rhino and perhaps other designing soft wares.

The greatest challenge within the completion of this module is to create panelling designs in Rhino. After many failures in trying to draw a successful panelling design, I realized that panelling designs are best to be drawn in a square/cubic form for it to be able to mesh perfectly with each other when panelled onto the lantern design. It is difficult to manipulate how to represent my original panelling design and convert this onto the computer. Furthermore, I was not satisfied with the manipulation of 3D custom variable panelling, because the two different panelling designs were not able to join perfectly together. The result was disappointing because the form was distorted excessively and in an unpleasing manner, at the same time I realized that complexity does not necessarily relate to aesthetics, being too complex could have chaotic or discomforting visual effect.

There are a few limitations regarding on my design ideas, prototypes and my final model. My panelling design idea originated from the cube idea which I hope to represent my model with panels that looks as if it is constructed by many cubes, the outcome does not quite meet what I wanted, and instead, it is similar to the tilings mentioned in the precedents, which the uneven surfaces of my outcome in a way links back to op art by the way that my design is a 3D presentation of the tilings. Perhaps further investigations could be made on Rhino. In terms of my prototypes, I could make more investigations on the shadows casted by the models with LED light placed in the interior of the model; also I could test other paper materials such as cardboards. Lastly, I believe the spiral form of my final model does incorporate elegance, dynamic and visual attractiveness achieving my initial aim. Yet, it cannot play tricks to the eye and lacks relevance to op art. The problem is, optical illusions works on a 2D surface, but my lantern is already in 3D, how could I represent illusions that are already in 3D? To solve this problem, perhaps I can look at another aspect of op art which is the use of black and white. More research and testings is needed to improve and solve the problems I am having.

At this stage I believe the outcome is at the border of being acceptable, I think this is a way of learning and it is all about problem solving.

Documents

Design - Student Journals Sem1 2012