module two

Hans Liu - Module 2 - DesignStudent No: 586951 Semester 1 /2012 Group 7

Hans LiuStudent No: 586951 Semester 1 /2012 Group 7

Digitisation: Initial Model

Contour tracing and sphere placing to recreate the produc-tion of initial plasticine model


Digital Modelling: Initial Form Complications


Digital Modelling: Achieving a Single Polysurface

Attempt No. 1 to recre-ated the balled section as a single polysurface.

Attempt No. 2 to recre-ated the balled section as a single polysurface.


Digital Modelling: Single Polysurface Manipulation

Rebuild of control points and caging of form.

CageEdit of form. Paramount criteria being the separation of the “head” to the body.

Final polysurface form.


Digital Modelling: Panelling Experimentation With 2D Panels

My babies. 12 2D custom panels and 12 3D custom panels.

Student No: 586951 Semester 1 /2012 Group 7

Physical Modelling: Prototyping

Hans Liu

Of most imporatnce to me was paper’s reaction to the transmission of light. As the juxtaposition of light and dark being a literal representation of my natural process in an abstract form, i needed to test the amount of paper needed to block out the light from an LED.


Physical Modelling: Prototyping

The dispersion of light through paper must also be accounted for, so trian-gular pieces of paper are used as a partial light block.


Precedents: Light as a Medium

Uršula Berlot - Luminous - Lumina

Berlot is an installation artist who focusses specifically on creating spaces in which light itself is the art. Using projecttors, plexiglass and the natural reflectiveness of the gallery space.


Precedents: Light as a Medium

Philips: Design Probe - Shimmer

Philips uses it’s Design Probes to sam-ple new and interesting consumer prod-ucts. Of note to me, though, is the above “Shimmer” which both controls external light as well air flow. The ever fluid and changing nature of the strips produces slightly fluctuating ambient light.

Venice Architecture Biennale - Swiss Pavilion

This installation during an architecture fair in 2008 is of particular interest to me, espei-cally this image. Depicted is a projection onto a curved brick surface. The brick, however, is neither light coloured nor particularly reflective yet it is the shape of the channel that facilitates light transmission.

Yasuhiro Yamashita - Reflection of Mineral House

Like the Swiss Pavilion, the shape of this liv-ing space provides an almost straight edged parabolic reflector to what is quite a small and indirect light source. Yet the walls have no problem scattering dispersed light throughout the room.


Precedents: Faceted Surfaces

Barbosa Guimarães Arquitectos - Oporto Vodaphone Building

This building, in a way combines the two concepts I’m trying to resolve into my lantern, the triangulation of my form, as well as the juxtaposi-tion of light, to no light.

Ingenhoven Architects - European Investment Bank

The inspiration of this building in Luxembourg is rather obvious, however what it interesting is the varied function of the triangulation. Here is it used to allow air movement in and out of the building, whereas I am try-ing to create and outlet of light, which here is not a problem.


Reflection

For the past couple of weeks, the digitisation and development of a physical entity into the digital do-main has been the main focus. This, once again, puts another question mark to the already profound question I asked in Module One: Does this still exist?

The lantern, at this stage of its development, does not have a physical form that can be manipulated in the three-dimensional universe we live in, yet, there is still something there. It exists as a repre-sentation of 1’s and 0’s. Ons and offs. Thus, the manipulation of a physically mouldable medium as plasticine, has been replaced by the manipulation of a digitally moudable medium, and that, for one, excites me. These 1’s and 0’s also make something click in my head, especially when placed in the context of light and dark.

Once again, I will go back to the notion of light as a medium (is it because I’m a sort-of-photogra-pher?). The fact that I don’t have a tactile model to see, smell, taste or touch doesn’t negate its exist-ence, as it is the light that allows the object to live- to be identified. The idea that something has been transfered into essentially electricity is still projected to me via a screen i.e. a source of light.

module two

Documents

digital modelling

d panelshans liustudent

transmission of light

light transmission

ambient light

external light

juxtaposition of light

physical modelling