MODULE 4reflection

Henry Tran

Student No:613985 Semester 1 29 May 2013

Virtual Environments

IDEATION

Balance Symmetry

Movement

Analytical Drawings

Though I treated these analytical drawings as simply an exercise as I was producing them, I realise now just how important they were in allowing me to fully understand the nature and of my natural pattern. I certainly utilised the principles that I discovered in assessing my pattern's characteristics as I was producing my final panels.

1.Construct a set of similarly-sized circles on a plane

IDEATION

Pattern Recipe

2.Draw a dotted* line** between one circle and each of its adjacent circles

3.Repeat until all circles have been exhausted

4.Trace over dotted lines to create solid polygons surrounding circles

Though in the end, I did not use this exact hexagonal formation that I derived from my natural pattern, I definitely applied a recipe similar to this one as I created my triangular panels.

Balance Symmetry

Movement

Analytical Drawings

Though I treated these analytical drawings as simply an exercise as I was producing them, I realise now just how important they were in allowing me to fully understand the nature and of my natural pattern. I certainly utilised the principles that I discovered in assessing my pattern's characteristics as I was producing my final panels.

In constructing my first paper model, I simply extruded from the surface of my pattern tile three individual base components, i.e., polygons. I used these three base units as a template for further experimentation.

For my second model, I decided to connect my three base components in such a way that would allow for upward construction (along the z-axis).

With my last model, I successfully created the tapering effect I had desired.

With my third model, I cut slivers in each of the units’ edges to make folds. My intention was to create tapered units, but I was pleased by the aperture-like effect I inadvertently created.

IDEATION

Paper Modelling / Initial Physical Panelling

IDEATION

Clay Modelling

As I was experimenting with the overall form of my lantern, I found myself being drawn towards curvilinear forms. Though I attempted to create more angular surfaces (largely due to the fact that my natural pattern is more geometric and rigid) I eventually found that more fluid forms would make my lantern more dynamic, especially if I wanted to stick to a relatively simple panel.

Though somewhat dissimilar from the form I ended up using, this early clay model allowed me to develop the curved and irregular shape that I wanted to create. In attempting to recreate this clay model in the later phases, I ended up with a similarly flowing shape that I managed to work with in Rhino. This model also got me thinking about how I could make the lantern interface with my arm in an interesting manner.

Though the Poling & Clark and Ball readings were very useful in helping me understand the nature of structures and patterns, they focused heavily on the theoretical side of things. I was extremely excited when the lectures moved on to the topic of patterns and their effects, which translated much more readily into practical application as we progressed through the module. Though I was initially very anxious about creating models—in all mediums—I found myself being ever-aware of and intent upon creating and experimenting with varying effects. What excites me so much about urban design and similar disciplines is their potential to create and manipulate spatial effects. I think this lantern brief is a great way of simulating such spatial manipulation. I honestly cannot wait to carry my budding design ideas further into fruition.

Reflection

Module 1 was certainly an intense, albeit worthwhile, way to kick off the semester. Though I am new to the design process and am still lacking in technical skills, I found the three week's culmination of lectures, readings, exercises, workshops and help sessions to be extremely effective in starting the ideation stage of this months-long process. Though I was initially nervous about selecting a natural pattern—what if I chose the wrong one?!—I am certainly satisfied with how well my coral pattern served me throughout this process.

I have come to understand why the subject began with our selection of a natural pattern, and not a man-made one. As Ball illustrates in his “Pattern Formation in Nature,” natural patterns are “formed through simple, local interactions between many components of a system..that give rise to self-organisation and emergent structures and behaviours” (22). As we discussed in our very first lecture, natural patterns—harder to explain than they are to recognise—are seemingly complex forms that arise out of simple rules and reactions. The reading on Kadinsky's theory similarly encouraged us to understand structures and forms at their most basic level. Along those lines, we can apply the same logic in analysing and eventually creating our own patterns. Through recipes and diagrams, as demonstrated by Aranda & Lasch, we can even communicate to others how to go about reproducing a complex pattern.

IDEATION

Kicking the module off, Alex Selenitsch's lecture on “Composition” was an especially inspiring and thrilling one for me. Listening to his ideas on form and matter, taking a look at his own work, and learning of the many different ways of thinking about composition got me excited about taking the next step in my own design process. I was definitely excited to revisit my clay model and to finally digitise it on Rhino. Little did I realise how much work and skill goes into translating your ideas into digital form/representation.

I faced a surprising number of challenges with the digitisation of my clay model. I've learned from my struggles with Rhino this past week just how useful an awareness and understanding of mathematics is in the design process. Though the digitisation process didn't require that I have a total grasp of how the program and its tools work, I am slowly beginning to realise that computer-aided design necessitates the use of a completely different language. I find it frustrating that I cannot communicate as effectively with Rhino as I can with my clay and paper models. Hopefully, my competency in understanding Rhino will improve with time and practice.

Professor Loh's lecture on the 8th of April was a truly eye-opening one for me. I've never thought about design as both a top-down and bottom-up process. As I have proceeded through this semester, I have sadly been depriving myself by being so steadfast on the notion that I can only design once I have thought out an idea perfectly. This is not an entirely effective mindset. I've learned now that I must be open to puzzle-making and complicating my ideas as I move along, and most of all being willing to leave some ideas in favour of different ones.

I was also struck by the brief clip of John Maeda's TED talk that we watched in class. I was especially intrigued by the idea that simple design changes in form can give rise to completely different meanings and connotations, even when the content remains constant. This notion places a lot of agency and power in the hands of the designer. His talk really opened my eyes to how the lantern will not just be a lantern (content—and therefore something that I cannot change) but will contain a form as well. The form that my lantern takes is entirely up to me, and I will be responsible for the atmosphere created through this form. Though this module presented many challenges to me, I remain hopeful that I will be able to translate my models into digital form, and then back into physical form.

DESIGN

Issues with Panelling

DESIGN

Further Clay Modelling Initial Difficulties with Digitising

DESIGN

Issues with Panelling

Outlining shape Copying and scaling Lofting

Though I had originally intended to make this panel as circular as possible, so as to echo a real-life aperture, I didn't like the way that each panel fit onto the overall shape. I think that a more rigid geometry would be more suitable—aesthetically as well as logistically—for the shape of my lantern. I plan to pursue this type of panel further, as I think it produces an interesting lighting effect. With my next developments, I hope to add asymmetry and irregularity to both the individual panels and their positioning and formation around the lantern.

Kicking the module off, Alex Selenitsch's lecture on “Composition” was an especially inspiring and thrilling one for me. Listening to his ideas on form and matter, taking a look at his own work, and learning of the many different ways of thinking about composition got me excited about taking the next step in my own design process. I was definitely excited to revisit my clay model and to finally digitise it on Rhino. Little did I realise how much work and skill goes into translating your ideas into digital form/representation.

I faced a surprising number of challenges with the digitisation of my clay model. I've learned from my struggles with Rhino this past week just how useful an awareness and understanding of mathematics is in the design process. Though the digitisation process didn't require that I have a total grasp of how the program and its tools work, I am slowly beginning to realise that computer-aided design necessitates the use of a completely different language. I find it frustrating that I cannot communicate as effectively with Rhino as I can with my clay and paper models. Hopefully, my competency in understanding Rhino will improve with time and practice.

Professor Loh's lecture on the 8th of April was a truly eye-opening one for me. I've never thought about design as both a top-down and bottom-up process. As I have proceeded through this semester, I have sadly been depriving myself by being so steadfast on the notion that I can only design once I have thought out an idea perfectly. This is not an entirely effective mindset. I've learned now that I must be open to puzzle-making and complicating my ideas as I move along, and most of all being willing to leave some ideas in favour of different ones.

I was also struck by the brief clip of John Maeda's TED talk that we watched in class. I was especially intrigued by the idea that simple design changes in form can give rise to completely different meanings and connotations, even when the content remains constant. This notion places a lot of agency and power in the hands of the designer. His talk really opened my eyes to how the lantern will not just be a lantern (content—and therefore something that I cannot change) but will contain a form as well. The form that my lantern takes is entirely up to me, and I will be responsible for the atmosphere created through this form. Though this module presented many challenges to me, I remain hopeful that I will be able to translate my models into digital form, and then back into physical form.

DESIGN

Reflection