Keryn Liew 610143Virtual Environments Semester 1/2013 Group 11

RafflesiaPaper lantern : Geometric rules from natural pattern

DESIGN BRIEF

A curvil inear form with panelized sur face that inter face only with the hands and forearm. It is a paper lantern, derived from geometric rules based on patterns in nature, and serves to the external atmosphere through l ight and shadow.

PATTERN FORMATION IN NATURERafflesia, a type of parasitic flowering plants, has its initial structure grown outwards from the point of center. The processes of the Rafflesia, which are the segments that branch out from the center, creates a miraculous emergent behavior.

It is also to be amazed by the nature of Rafflesia that there is a balance of symmetrical diverting segments to connect the encircled part. A spontaneous pattern formation is emerged.

In spite of the complicated symmetric pattern, the central part of the Rafflesia is formed naturally. There is a force within the flower to maintain its consistency of the symmetrical pattern. The arbitrariness of spots on the huge petals creates an aesthetically uneven movement across the petals. This is explored as the oscillating chemical reactions, the switching on and off of the pigment-generating genes.

These notions are what Philip Ball observed : natural patterns are raised through interactions of many integrant of one system.

1 . I d e a t i o n

IDEATION: NATURALLY OCCURING PATTERNIntrigued by the uniqueness of its pattern, the largest flower in the world, Rafflesia is explored as the sample image.

Aroused to view objects from nature in a very different perspective besides thinking analytically about its basic structures, patterns that are not perceived directly by the eyes have to be examined.

The whole image is iden-tified into smaller parts in the first stage and this is where the approach of drawings based on the idea of symmetry comes in. Logically, the image is investigated based on the proportions and changes that gradually vary within.

The second stage views the object on its tension of the structure. The aspect of balance is integrated. Connec-tions of dots and focal points are networked to develop the sense of equilibrium within the structure. Parallel construction and ma-jor contrasts are con-sidered. The contour of the image is repre-sented.

A very radical frame-work is approached at the third stage. Extreme simplicity and energy characteristic of the im-age are expressed. The aspect of movement is incorporated. Termed as translation, it is at this point, the image is re-garded into the utmost simplification that is comprehensible.

Symmetry | Balance | Movement

“Analytical drawing is an investigation of the structural relationships among objects.” - Kandisky.A condensation of a diversity of shapes is therefore, used as an underlying principle of analyticity.

1. Elongate the segment in anticlockwise direction.2. Divert the ends into two small parts to reach the initial structure.

ANALYTICAL DRAWINGS

RECIPE OF GEOMETRIC RULE

IDEATION: PHYSICAL AND DIGITISED MODEL

The focus is on the central point of the Rafflesia.

SYMMETRY AND BALANCE - An extruded pentagon is the backbone of the whole model. Perpendicular strips are connected within the oval and circle.

MOVEMENTS - Curves are used as the representation of huge petals and the oval is extended with these curves forming a wave-like structure as its border.

The Y-shaped curve is further explored.

CROSSOVER - The intersecting ends of the two curves are joined to form an enclosed rhombus-like shape.

TRANSLATION - The patterns are mirrored, forming an enclosed shape in the center. A variety of heights based on the extruded Y-shaped curve are joined to-gether. A radii of a new emerged pattern is formed.

IDEATION: PRECEDENTS AND EXPLORATIONS

ArtScience Musuem, Singapore

New Taipei City Musuem, Taipei

Considering the consistent geometric proportion, the rep-etition of the Y-shaped curves in various directions then formed a newly emerged structure, where the complexity is actually based on simple principals from nature.

Anchored from a base in the center, these extruding cur-vatures in the first precedent are similar to the concept of the central part of the emerging form model. Another dis-tinct design is the base of this museum, where trusses are arranged to form a consistent pattern that has a rotating effect towards the center of the ceiling.

This amazing roof structure in the second precedent is designed in a way to allow both light and air to be inte-grated to the building. The crossover characterestic from various Ys is a conceptualisation that could be incorporat-ed - the symmetrical diverting segments attribute to the formation of the model.

IMAGINARY LANTERNClay Model

Preserving the component of a Y curve as its essential principal, the design of layering various Y curve in different directions is examined for the evolvement of the angles that could be creat-ed by the joints of all Y curves.

The lights that penetrate be-tween the multiple layers would give several effects - an effect of glow at certain openings and a diminished exposure of light in some divisions, in which the rule of diverting one segment to two separate parts is explored.

Based on reflections of the Y curves could produce, the base of this model is abstracted from the emerging form model where various heights of extru-sions are incorporated.

While the light from the central mid-point would be a sharp laser-like pen-etration, the effect of light from the base would create an opposite effect due to diffusion. This is when the role of reflections come in to create an illu-sion of diverting lighting effect.

2 . D e s i g nABSTRACTION AND REDUCTION

“Involving human intelligence and per-spectives, the information is simplified while its properties are still remained” - Lost in Parameter Space.

Relating this to the analytical drawings back in IDEATION, symmetry, balance and move-ments are the abstraction of details from the selected pattern in nature.

The optimal way to transport the information is done through normalization and refactor-ing via reduction. The details are described and reproduced in an appropriate way with-out changing its content. This is shown in the recipe and hence characteristics of Rafflesia are exploited.

With this, a form of the main characteristics featured in the two imaginary lanterns in IDE-ATION are combined.

Using the contour method of cutting and tracing sectional slices, the clay model is then digitalized.

This interpretation of the shape of the model would be rather direct from the rules. Also being relatively not that solid to be a lantern for further paneling

development, a transformation is developed.

“Design is not an immediate process, it needs to be worked through” - Lecture (Designing Effects)

Hence, the transformation of digitised model.+ simplification from first form+ general Y form

As inspired from the lecture on how geometry should interact with the forearm, this expanding base would be interacting with the wrist and hand, in which the ef-fect of diversion from center could be delivered.

The whole model still retains the parasitic characteristic, as its shape could be cling on the forearm.

Final test form to be panelled

Second Refined

Form

First Refined

Form

DESIGN: INSPIRATIONArt et Floritude (France) shows a distinct shades by the layers of geometry. Attracted by the various tones produced,the layering effects of these

designs could be applied to the design development. Sophistication of the Rafflesia could be shown through shadows and layers.

Intrigued by the uneven 3D layers of this design by Betwin Space Design, and rather directly exposed to the atmosphere, application of layers could be done. This would hence depict the shadows to be beneath the layer of the Rafflesia.

Art et Flortude (France) Betwin Space Design

DESIGN: DIGITAL PANELING EXPLORATION

Instead of using 3D panels, exploration of 2D panels that could form layers of different shades is tested. Filtering effect is used where shapes of a mod-ified Ys are formed to make holes on the panels.

Applying inspirations from Art et Floritude, the panels are cus-tomised by having the effect of ‘layered roof’ on top of an-other. Combined Ys are still ap-plied as it is the base emerging form.

Inspired by Betwin Space, an-other panel where a shaded layer is covered over the offset borders is customized to investi-gate the effect on layered di-version.

DESIGN: PROTOTYPES AND REFORMING

Elongate each segment in anticlockwise direction

Divert the ends into two small parts to reach the initial structure

As motivated by Dr Alex Sele-nitsch from Lecture (Composition: Form & Matter), the customized panels are based on the concept of assemblage. Panels where light testing are crucial are scru-tinised through prototypes that would contribute to the final de-signed panels which would be combined in further fabrication. The process of changes from a Y to the final form

“The mainstream design of buildings is soulless and cold.” - Heatherwick.

Influenced by the materiality and soulfulness of things, the implica-tions of benefiting geometrical patterns could be seen in Heather-wick’s designs. Using the approach of movements in nature, spatial effects are created.

The structure of lantern is hence reformed from the very start, the Y-curve segment, by applying Heatherwick’s conceptualisation and the recipe of the geometric rule.

+ Direct overlapping shadow effects

+ Divert shadows by covering with layers

Third Refined

Form

Customizing 3D curves on top of the 2D panels in par-ticular parts of the form to emphasize the movement along the form as inspired by Heatherwick.

By using offset borders on basic library panels, the desired diverted concept from the recipe would be shown through shadows.

DESIGN: STUDY OF FINAL FORM

+ parasitic and dependent on arm + overlapping layers+ pores of rafflesia

Parasitic characteristic and its several ways of handling the lantern

3 . F a b r i c a t i o nCREATIVITY AND IMAGINATION

As mentioned in Lecture (Digital Fabrication), mass customization is definitely the key term in FABRICATION

as the design has to be unique but also cost-efficient

due to time constraints.

FABRICATION: DESIGN OPTIMISATION

Before applying the desired panels onto the surface, + unifying the face directions+ planar surfaces have to be added

connection among the three different seg-ments is clearly not joined

surfaces UV directions are not equal

Considered tough in paper making process due to time re-strictions, the complex form of this lantern hence has pan-els that were kept simple which do not lose the desired layering effects. Previous precedents were recapped and the nature of rafflesia is integrated into the design. Pores are then the core design of the form too.

MASS CUSTOMISATION

REFINE IN DETAILS

FABRICATION: ASSEMBLY DIAGRAM AND CUTTING TEMPLATE

900 x 600mm 250gsm Ivory Card

FABRICATION: EXPLODED AXOMETRIC VIEWFABRICATION: EXPLODED AXOMETRIC VIEW

FABRICATION: CONNECTIVITY

EXPLORATION ON CRUCIAL PARTS

Messy connection of tabs created by using double-sid-ed tapes and later joined with UHU glue.SOLUTION: Adjust all tabs to equal dimension of 5mm

Offset borders too large lead-ing to fragility. SOLUTION: Remove offset borders for this ring

ASSEMBLING IN DETAILS

Materials:+ Penknife, metal ruler, cutting mat+ UHU glue, masking tapes, bull-dog clips

“The interdisciplinary approach is illustrated indirectly where designing and constructing are affiliated.” - Branko Kolarevic.

A design that is buildable, yet not to be restricted in reducing the uniqueness of the design based on the fundamental recipe is conveyed.

FABRICATION: PROTOTYPING

As mentioned earlier, Lecture(Digital Fabrication) emphasis on this two key terms creativity + imagination in this designing process, this model fabrication pro-cess is considered a puzzle making process where precision is not only import-ant but also solving the problems encountered too. It is then a pathway to ex-plore the constraints of paper and the process of digitalization/fabrication that would eventually leads to a design that has a distinct understanding concept.

Black strips are unnecessary in the role of design and the rule of rafflesia. It is thence discard. Using only ivory paper, the lighting effect could still be depicted; whilst inspired by the natural pigment of rafflesia, a gradient of red would be integrated. The bizzare lighting tone served to the surrounding atmosphere is just like the concept of pattern for-mation on rafflesia, expanding from the centre and divert outwards for its aim to be the central point of glow.

FABRICATIONASSEMBLING

TIMELINE

FABRICATION: BEHIND THE BIRTH OF THE RAFFLESIA LANTERN

+ 4 LED strips and 1 12V battery+ soldering iron and masking tape+ plastic coating with red gradient highlights

This internal LED wiring is done throughout the assembling of the paper lantern.

Twelve weeks, this period of time,

with all the inspirations from lectures, understandings from readings, communications from tutorials

and the all-nighters in the midst of confusions, one thing for sure:

this is a remarkable learning experience.

4 . R e f l e c t i o n

It is as if I have come to a point where I gradually understand the formations of every objects: nature or manmade. The patterns and structures of all nature are something that has existed for no reason but to create a design that is unexplain-able. The endless beauty in Mother Nature is something we could view and by ex-ploring these patterns from nature, we could seamlessly abstract a rule that would be a stimulation and prime structure for designs in architecture, arts or even land-scapes. And indeed, this process of designing is truly inspiring.

As seen from the design changes in my first two modules, there is undeniably an un-justified arbitrariness when the process comes along. However, I realized the need and importance of process development, and hence I understand that this weak point is something I should scrutinize on, in order to search for the optimum and satisfied design that relates back to the very first underlying rule of formation. Apart from that, lectures have highlighted the fact of designing is based on several com-ponents that would impact differently on the viewers. This is where, the motivation comes in - creating a design that viewers could perceive clearly, as it has a basic yet fascinating foundation behind.

Rifkin’s emphasis on the industrial revolutions is definitely to be amazed due to the transformation of human thoughts and the systems in general that function in the world from the past to present. Digitalization is omnipresent in this era and rather than a top-down command, system making in recent years are all linked and inte-grated as a collaboration. Back to the initial point of this design process, visualizing an idea may seem tough at some points; nevertheless, digitizing it is one of the learning processes where familiarization of digital fabrication is so crucial. Also re-lating it back to Roudavski in the Lecture of Augmented Space, he has introduced how important it is to be familiarized with digital software. And in this case, using rhino and understanding rhino is two different things where I would reach a risk of being dominated by the software. This distance between understanding and com-municating is hence vital in optimizing the best design outcome and refining the digitized model. Needless to say, the exposure to digital technology has driven me to the understanding of efficiency, consistency and mass customization that would be far-reaching in the context of architectural design.

A design with precise fabrication is crucial but the importance of its stability and function is significant too. Craft versus digital technology is where the risk of de-sign and assembly is evaluated, Deamer and Bernstein (2008). This design process highlights the importance of testing, exploration and problem solvings to possibly produce an optimized outcome. Through design optimization, prototyping and re-building, this is the pathway where a development of increasing precision is thrived.

Ideation, design and fabrication... the process to this end, a paper lantern formed, it seems beyond the realms of possibility, yet, with the learning and experiences gained throughout these twelve weeks, it is attainable!

RESOURCESCONTEXTArchitecture in the Digital Age - Design and Manufacturing /Branko Kolarevic. Spon Press, London, c2003 Ball, Philip (2012): Pattern Formation in Nature, AD: Architectural Design, Wiley, 82 (2), March, pp. 22-27 Building the Future: Recasting Labor in Architecture/ Philip Bernstein, Peggy Deamer. Princeton Architectural Press. c2008. pp 38-42 Digital fabrications: architectural and material techniques / Lisa Iwamoto. New York : Princeton Architectural Press, c2009. Loh, Paul (2013) : Lecture Week 5 - Designing Effects (Designing prototype)Loh, Paul (2013) : Lecture Week 8 - Fabrication (Digital Fabrication)Poling, Clark (1987): Analytical Drawing In Kandisky’s Teaching at the Bauhaus Rizzoli, New York, pp. 107-122Roudavski, Stanislav (2013) : Lecture Week 9 - Augmented SpaceSelenitsch, Alex (2013) : Lecture Week 4 - Composition: Form & Matter (Composition + Strategy)Scheurer, F. and Stehling, H. (2011): Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 (4), July, pp. 70-79TED talks - Thomas Heatherwick - http://www.ted.com/talks/thomas_heatherwick.htmlThe third Industrial Revolution / Jeremy Rifkin. Palgrave Macmillan, C2011.pp107-126

PRECEDENTS http://www.annakaran.com/?p=436http://www.archdaily.com/119076/artscience-museum-in-singapore-safdie-architects/http://www.archdaily.com/164361/new-taipei-city-museum-of-art-proposal-ota/http://www.artetfloritude.fr/