Virtual Environemnts Module 4 Folio

Joel Falconer604415

OBJECT STUDY

Ideation

SECTIONS CAN BE EFFECTIVELY USED AS A STRUCTURE/SUBSTRATA OR THEY CAN BE ARTICULATED AND USED THE KEY EXPRESSIVE ELEMENT OF THE DESIGN. STACKING OF SECTIONS CAN EFFECTIVELY EXPRESS MASS THROUGH ARTICULATION OF THE EDGES.“THE SUBTLE VARIATION OF SYSTEM ELEMENTS.’ POSSIBLE THROUGH SECTIONING HAS ENORMOUS POSSIBILITIES. (Iwamoto, L, 2009)I REALLY LOVE THIS IDEA OF THE RENAISSANCE OF THE ‘LOW’ ARTS AND CRAFTS THROUGH DIGITIZATION

REFLECTION ON READING - DIGITAL FABRICATIONS

OUR MAPPING OF PERSONAL SPACE HIGHLIGHTED THAT THERE WAS A MUCH GREATER NEED FOR PROTECTION AT THE BACK OF THE. WE DECIDED THEREFORE THAT THIS SHOULD BE EMPHASIZED IN THE DESIGN.

OUR EXPLORATION OF PER-SONAL SPACE MAPPING LED US TO CONSIDER BASING OUR DESIGN ON A DI3D VOLUME CREATED THAT CLOSELY ALIGNED WITH THE SHAPE MAPPED OUT.

1

2

1

2

IN THE BEGINNING OF ROBERT SOMMER’S CHAPTER SPACIAL INVASION THE DISCUSSION REVOLVES AROUND NOTIONS OF THE INVISIBLE AND EPHEMERAL YET VERY REAL, NOTION OF PERSONAL SPACE

“PERSONEL SPACE REFERS TO AN AREA WITH INVISIBLE BOUNDARIES SURROUNDING A PERSONS BODY INTO WHICH INTRUDERS MAY NOT COME.” (Sommer, R. 1969)

DESPITE THIS INVISIBLE NATURE IT IS STILL POSSIBLE TO MAP OUT PERSONAL SPACE AND PROVIDE IT WITH PHYSICAL ATTRIBUTES THROUGH A PROCESS OF EXPLORATION OF CASE STUDIES AND REFLECTION ON OWN PERSONAL EX-PERIENCES. IN FACT IT IS IMPORTANT TO GO THOURGH THESE EXPERIMENTS AND SUBMIT OURSELVES TO PERSONAL INTERROGATION AND LOOK AT OUR OWN NOTIONS OF PERSONAL SPACE AS

“PERSONAL SPACE IS NOT NECESSARILY SPHERICAL IN SHAPE, NOT DOES IT EXTEND EQUALLY IN ALL DIRECTIONS.”

WITH THIS IN MIND I BEGAN TO THINK ABOUT SITUATIONS IN MY LIFE IN WHICH I FELT MY PERSONAL SPACE MOST ‘VIOLATED’. ALTHOUGH THERE ARE MANY INSTANCES IN WHICH FEEL THAT PEOPLE HAVE ‘CROSSED THE BOUND-ARIES’ OF WHAT MAKES ME FEEL COMFORTABLE THE MAIN INSTANCE IN WHICH I FEEL MOST UNCOMFORTABLE IS WHEN I AM READING, AND SOMEONE ATTEMPTS TO READ OVER MY SHOULDER.

WHEN THIS OCCURS IT MAKE THE HAIRS ON THE BACK OF MY NECK STAND WITH ANGER AND DISCOMFORT AND I MUST PROTECT MYSELF IMMEDIATELY BY MAKING IT VERY CLEAR TO THE INTRUDER THAT THIS ACTION IS UNACCEPT-ABLE.

WITH THIS IN MIND WE EXPLORED PRECEDENTS IN NATURE IN WHICH PERSONAL SPACE WAS EXPRESSED THROUGH AND ACTION OF MOVEMENT OF THE ANATOMY IN ORDER TO FOR THE ANIMAL TO PROTECT ITSELF. WE CAME ACROSS SUCH BEHAVIOR IN THE FRILLED NECK LIZARD AND IN THE PEACOCK AND WERE INSPIRED BY HOW THESE ANIMALS MOVE THEIR BODY IN ORDER TO DEFEND OR ATTRACT THEIR ENEMIES.

ANOTHER LAUNCH POINT FOR US WAS THE CONCEPT THAT EXPRESSED BY SOMMER THAT “ALTHOUGH SOME PEO-PLE CLAIM TO SEE A CHARACTERISTIC AURA AROUND HUMAN BODIES AND ARE ABLE TO DESCRIBE ITS COLOR, LUMINOSITY AND DIMENSIONS MOST OBSERVERS CANNOT CONFIRM THESE REPORTS AND MUST EVOLVE CON-CEPTS OF PERSONAL SPACE FROM INTERPERSONAL TRANSACTIONS. ‘ THIS BEGAN US THINKING ABOUT A LITERAL THE PHYSICAL MAPPING OF PERSONAL SPACE AND BASING THE FORM OF OUR DESIGN ON THIS.

REFLEFCITONS ON PERSONAL SPACE

IDEATION

IN THE SAME WAY THAT THE FRILLED NECK LIZARDIS ABLE TO ACTIVATE HIS ‘SECOND SKIN’ WHEN BEING CONFRONTED WE WANTED TO INCORPORATE INTO OUR DESIGN AND A SYSTEM THAT WOULD ‘ACTIVATE’ WHEN OUR PERSONAL SPACE IS INVADED.

THE PEACOCK IS ABLE TO ‘DAZZLE’ WITH ITS ‘VERY MANY’ FEATHERS EACH OF A DIFFERENT SIZE AND FORM. THIS EFFECTOF VARIATION OF THE VERY MANY TO CREATE AN OVERALL FORM WAS ALSO INCORPORATED INTO OUR DESIGN.

1 2

1 2

Ske

tch

by

Lyd

ia C

han,

201

3

PRECEDENTS

Examination of Precedents

“The dance of Shapes resembles a voyage through imaginary outer space.”Introduction to Das Triadische

When Oskar Schlemmer investigated the movement of the body he did so by creating a series fantastical ‘alien like’ forms which demonstrated in a very physical/surreal manner the rela-tionships between the body and movement and with the ‘self’ and with ‘others’. In a similar way our design will examine the relationship between the self and others through the physical manifestation of the ‘unheard’ body language via a form that is as expressive of spacial rela-tionships as it is sound and light We will do this by exploring the Aural qualities of differentmaterials which will be assembled in a form that is generated based on a mapping of our personal space.In order to physically map out the spacial relationships of personal space we will create a series of panels that wrap the body and extrude vertically using a technique of Differentiated effects. We will also take inspiration from Ned Khan who was able to express emotion within ‘articulated cloud’ by utilizing the technique of the very many. Through experiments with ma-terial and multiplication hopefully we will be able to create an aural effectthat verbalizes what os often silent in body language.

PRECEDENTS

NED KHAN’S BUILDING CREATED AND EFFECT OF MOVEMENT THROUGH A SERIES OF ELEMENTS THAT WERE HINGED AT ONLY ONE POINT. ANOTHER ELEMENT THAT COULD BE INCORPORATED INTO OUR DESIGN

WE ALSO TOOK INSPIRATION FROM OTHER FORMS FOUND THROUGH PRODUCTS SUCH AS CHRISTMAS DECORATIONS AND CHINESE LANTERNS

1

1

2

2

SMo

de

l by

Lyd

ia C

han,

201

3

THIS IS THE FIRST DIGITAL MODEL CREATED IN RHINO. ALTHOUGH IT FIT THE FORM OF A PERSON WELL IT WAS TOO TWO DIMEN-SIONAL AL AND DID NOT CRE-ATE THE VOLUME WE DESIRED

OUR ORIGINAL DRAWINGS AND 3D MODELLING EXPLORED THE CONCEPTS OF CREATING VOL-UME OUT OF VARIATION AND PANELLING

1 2

DESIGN1 2

Ske

tch

by

Lyd

ia C

han,

201

3

DIGITALIZATION

Heading

The Early 3D modeling was in-nefective as it did not create a form that we would be able to generate in the phisical

These are the first set of 3D Modelig files that were used in order to generate our first model..

Form was created by using the cage edit tool to manipulate a sphere into the desired shape

we then took sections of of this. which were flattened out and cut at the Fab Lab

1

2

1

2

Note:

Prototyping

EARLY PROTOTYPING FOCUSED ON THE SUB STRUCTURE THAT THE WEBBING BETWEEN THE PANELS WOULD BE MADE OF. WE DISCOVERED AFTER EXPERIMENTATION THAT A SIMPLE TRIANGULATED SYSTEM WOULD BOTH COMPRESS AND EXPAND AS WE DESIRED AND WOULD LOOK ATTRACTIVE IF LAYERED.

We were originally experimenting with creating different surface textures with metallic material however found that this would be too heavy for the structure of the model and would be impractical to fabricate

1 2

1

2

Prototyping

Our early prototype explored a wire structure and how the panels would fit around a person. This was also abandoned in later design as it was too impractical

1

The main learning from this entire assignment was that we did not spend as much time during the Prototyping phase as we should have and we should have created many more 1:1 scale prototypes. This would have prevented many failings in later designs

Note:1

SMo

de

l by

Lyd

ia C

han,

201

3

SMo

de

l by

Lyd

ia C

han,

201

3

FABRICATION

I FIND IT INTERESTING HOW ‘THERE IS A CONTINUED RECIPROCITY BETWEEN MEANS OF REPRESENTATION AND MEANS OF CONSTRUCTION WHEREBY DIGITALLY DRIVEN FABRICATION EQUIPMENT WHICH HAS RESULTED IN NEW FORMS IN ARCHITECTURE THAT ADHERE TO NEW GEOMETRIES AND MATERIALS.’ (Kolarevic, 2003)

COMPLEX GEOMETRIES ARE DESCRIBED AS NURBS, CURVES AND SURFACES

FABRICATION PROCESS

• CNC CUTTING INVOLVES CUTTING OBJECTS ALONG A TWO DIMENSIONAL PLANAR SURFACE (X/Y AXIS). THERE ARE THREE TYPES OF CNC CUTTING. PLASMA ARC (GAS), WATER JET (HAS THE ABILITY TO CUT MUCH LARGER OBJECTS, LAZER CUT-TING (COST EFFECTIVE)• SUBTRACTIVE FABRICATION REMOVES MATERIAL VOLUMETRICALLY BY ROTAT-ING THE DRILL BIT ALONG THE Z AXIS AS WELL AS THE X AND Y AXIS - EFFECTIVE USE FOR FORMWORK MOLDS. • ADDITIVE FABRICATION

STRUCTURE THAT IS EMBEDDED INTO THE SKIN REQUIRES NEW GEOMETRY AND NEW MATERIALS. SUCH GEOMETRICALLY INNOVATIVE FORMS CAN ALSO BE USED AS SKINS ADDED TO MORE TRADITIONAL STRUCTURE (E.G. GHERY )

• CONTOURING INVOLVES FABRICATION OF A SEQUENCE OF PARALLEL PANELS PLACED AT REGULAR INTERVALS• FOLDING PROCESS CAN CREATE COMPLEX CURVILINEAR ENVELOPES MADE UP TRIANGULATION SURFACES. • RULED SURFACE CONSTRUCTION CAN OCCUR USING TRADITIONAL TECH-NIQUES

NOTES ON READING - DIGITAL PRODUCTION

IN GENERATING OUR FIRST MODEL WE USED POLYPROPYLENE WINGS AND A WEBBING THAT WAS GENERATED BY CUTTING EVEN STRIPS OF PAPER AND THEN GLUING THEM TOGETHER TO CREATE THE TRIANGU-LATED STRUCTURE. THIS DUE TO A LACK IN PROTOTYPING WE DISCOVERED TOO THAT THE POLYPROPYLENE WAS NOT RIGID ENOUGH TO SUPPORT THE STRUC-TURE AND THAT THE TRIANGULATED WEBBING WOULD NOT EXPAND AND CONTRACT AS WE THOUGH IT WOULD.THERE WAS ALSO A LACK IN THE USE OF 3D MODELLING TO CREATE THE WEBBING THAT WOULD HAVE RESOLVED COME OF THESE ISSUES.

NOTE:

Heading

DIGITILIZATION OF WEBBING

TO CREATE MORE ACCURATE WEBBING CREATED A LOFTED CURVE WITH A GRID BASED ON THE CURVATURE OF THE WINGS

2

I THEN EXTRUDED THIS TO CREATE SOME FIN EDGES,

USING A TRIMMING SURFACE I NEATENED UP THE FINS TO CREATE AN EDGE THAT WOULD EXACTLY MATCH THE EDGE OF THE FINS.

1

3

3

2

1

HeadingDIGITILIZZTION OF WEBBING

2D PLAN OF MODEL

REVIEW FABRICATION

FINAL MODELING WENT MUCH SMOOHTER BECAUSE WE WE USED THE DIGITALY GENERATED INFORMATION TO CREATE THE WEBBING

WE CHANGED THE MATERIAL USED FROM THE POLYPROPYL-ENE TO CORE FLUTE BOARD AS IT WAS MUCH MORE STRUCTUAL

3

WE STILL HAD ISUES IN FABRICATION HOWEVER AND REQUIRED A SUPPORTING ELE-MENT TO ACT AS A COUNTER BALANCE TO THE WING

2

1

3

2

1

Final Model

Sommer, R. Personal space : the behavioral basis of design, Englewood Cliffs, N.J. : Prentice-Hall, c1969

1

2

Heath, A., Heath, D., & JEnsen, A. (2000). 300 Years of industrial design: function, form, technique, 1700-2000 / Adrian Heath, Ditte Heath, Aage Lund Jensen.New York : Watson-Guptill, 2000

Iwamoto, Lisa., Digital fabrications: architectural material techniques. New York : Princeton Architectural Press, c2009 3

Kolarevic, Branko., Architecture in the Digital Age - Design and manufacturing, Span Press, London, c20033

References