JINGLE CHEN#584256

Group 1, Tutor: Jess Chidester

MODULE 1: IDEATION

natural process.

For this project, the pattern forming processes of nature are the primary sources of inspiration. Analysis of the process of ink diffusion in water served is the chosen natural process. The first level of analysis is the immediately visible patterns such as the formation of random swirls, often emerging from a single blob of ink (Figure 3.1- 3.3) By using mathematical formulae or scientific theories, a deeper level of understanding of “why” and “how” can be gained of the natural phenomena (Ball, 2012). In the diffusion of ink into water, the velocity and liquidity of the liquids play an important role in creating variations in length, width and thickness of the wisps, the level of turbulence and the level of transparency.

Ideation is the process of conceiving an idea, usually

initiating in the mind.

3.1 3.2 3.3

drawings.

The analysis of the natural process is represented as two dimensional drawings on paper depicting how the wisps emerged from a single blob, the varying thickness and transparency and the “folds” of the ink (Figures 4.1 to 4.4).

4.2 4.44.3

4.1

fashion statement.

The brief also stated that the lantern is to be worn by the designer. The function of the lantern then, is not only to provide light, but to fit around the body like a fashion garment. Precedents of designers who

utilise digital technology were used as inspiration, in particular Daniel Widrig (see bibliography). Because form follows function, the lantern’s shape conforms in accordance to the curves of the female body.

The lantern’s shape conforms in accordance to the curves of the female body.

analytical drawings.

Kandinsky’s method of analysis includes: simplification, analysis and transformation (Poling, 1987). The method is used to observe the interrelationships between different internal elements in a composition. Analytical line drawings of the diffusion process are present in Figures 6.1 to 6.4 where horizontal and vertical elements are simplified into shapes and lines that aim to portray the movement, spontaneity and contrast in the composition (Figures 6.5, 6.6).

simplification.analysis.transformation.

movement.spontaneity.

contrast.

6.1

6.2

6.3

6.4 6.5

6.6

plasticine.

Using plasticine, a model of the lantern was created. Because plasticine is easy to manipulate, twist and mould, it is an effective material to use for studying basic physical forms and shadows. However, details and negative spaces are difficult to create due to the lack of strength when the material is thinned out. Despite these limitations, plasticine is an efficient material which serves its purpose of transforming initial concepts into three dimensional forms.concepts into three dimensional forms.

The outcome of the ideation process was a physical form influenced by the natural process of ink and water diffusion (Figure 8.3 to 8.5). The proposed model wraps around the hips of a female, twisting and turning, to portray the randomness of the process and mimicking the organic lines immediately visible (Figures 8.1, 8.2) It also includes a large extruded section which juxtaposes against the thinner side strands, representing the contrasting properties of the natural process.

outcome.

8.1

8.2

8.3

8.4

8.5

MODULE 2: DESIGN

digitisation.

There are three main purposes that the design must meet: the aesthetics, structure, and connotations. There must be a balance between how the model looks, how it will physically hold together and whether the original analysis of the natural process is incorporated.

The digitisation process is an example of abstraction where abstraction is a “transformation of reality” (Selenitsch, 2012). During this process, the model was continually reduced and modified: unnecessary elements were deleted and the surface was altered by using the control points and gumball command to create the desired shape. Rhino enabled faster and more iterations of the model to be made. The outcome of the digitisation process was a more refined, detailed model of the natural process (See Figure 10.3 to 10.5).

aesthetics.structure.

connotations.

10.1 10.2 10.3

10.4 10.5

panelling.

The efficiency of Rhinoceros means less time is spent on form generation and more time spent on smaller details such as the panels. Experiments with a range of two and three dimensional panels were conducted. The basic triangular two dimensional panels are effective at maintaining the shape of the surface (Figure 11.1 to 11.3), but are too basic and do not portray the complexity of the natural process. On the other hand, three dimensional panelling is very bulky and does not maintain the desired shape of the lantern (See Figures 11.4 to 11.8.)

11.1

11.2

11.3

11.4

11.9

11.5

11.6

11.7

11.8 11.10

extrusion.

Using different point and curve attractors, the location of different openings on the surface were able to be tested. Using helix shaped curved attractors openings in the tubes were generated (Figure 12.6) A series of curves was used as attractors for the opening in the extrusion (Figures 12.1 to 12.4). The extruded section is the brightest section of the model with light diffusing away from it. This is parallel to the analysis of the natural process where ink diffuses away from a central blob. The final panels are triangular in shape, with varying sized openings.

12.1 12.2 12.4

12.7

12.5

12.6

12.3

finned edges.

Often when the interpretation is not an exact representation, interesting results that were not initially perceived can occur (See Figure 11.3) and this is what happened during panel experimentation that influenced the decision to include finned edges. By using finned edges, the model has a three dimensional quality while maintaining the organic form. This was influenced by the Hybrid Hotel in Dubai by Architects Barbara Leonardi and Oliver Dibrova (Grozdanic, 2011). They translated the natural process of singing sand dunes into a three-dimensional form that has a high level of detail at all scales (Figures 12.4 to 12.6). Similarily, at first impression, the lantern design is minimal with a twisted, organic shape, but at a closer scale, the triangulated panels and finned edges become visible. In nature, there are detailed patterns at the every scale (Loh, 2012 & Lecture 6, 2012) and the lantern reflects this: the mechanical, regular geometry of the water and ink atomic structures on a smaller scale (Figure 12.1) and the chaotic, organic strands on the observed scale. Furthermore, the finned edges also play a structural role, especially if they are constructed of thicker, stronger card. The finned edges are elements that meet all three functional criteria of the design module.

13.1 13.2

13.5 13.6

13.3

13.4

renderings.

paper.

By making paper prototypes, the properties of the paper and constraints become evident. The level of transparency of the paper is high enough to transmit light, the thickness allows accurate folds and it is strong enough to physically stand up. Other effects such as lighting and shadows and the physically achievable level of detail are also able to be tested. The failures and successes of the prototype influenced the decision to use 200gsm ivory card as the material for the final prototype and also influenced further refinements of the virtual model.

“Material behaviour computes form.”-(Fieschmann et al., 2012)

MODULE 3: FABRICATION

sections.

Rhino is a design tool that enables the user to “make ideas” when using it (Macfarlane, 2005), producing complex and unique results. When using computer software, a different thought paradigm is required as the computer acts like an interpreter between the ideas in your head and the virtual model on the computer screen. A lack of understanding of this “rhino language” and how to use it can limit creativity and the ability to create anticipated representations of the model. Conversely, knowledge of the program opens up the door to new possibilities and fosters creativity (Roudavski, 2012).

The model is split into three sections to enable a systematic fabrication and to eliminate confusion. (Figure 16.1). Optimisation of the model from the design phase (as a result of a failed first prototype) includes widening the tubular sections to provide extra support, reducing the number contours to simplify the surface, reducing to the number of panels to avoid confusion and increasing the size of tabs in the joints for strength.

“The tools we use are somehow an undeniable part of the product,”

- (Macfarlane, 2005). “Building before digital seemed

somehow simpler and open to any number of controlled approximations,”

- (Macfarlane, 2005)

Using digital programs design tools such as rhino enables the development of hybrid design methods similar to the Restaurant Georges project (Macfarlane, 2005). By utilising two design methods; the digital and the conventional, the benefits of both can be reaped and the limitations of each can be eliminated. The lantern is a hybrid design because digital and conventional design methods are constantly used interchangeably to optimise the design.

16.1

unrolling: tubes.

front. back.

10b 11 12 13 14

10a

151716

Location of section on model.

Another benefit of the Rhino program is its efficiency, evident in the process of unrolling and making tabs and labelling (Figure 18.1). Although some manual labour is required to group sections together, the majority of the unrolling work is completed by Rhino. The speed and ease is incomparable to manual techniques. However, in some cases, features must be altered to conform to the language of the program in order for Rhino to function to produce the desired effect, such as the finned edges.

18.1. Unrolled, labelled and colour coded strips of a tubular section.

unrolling: extrusion.

Location of section on model.

It is physically impossible to construct finned edges without triangulating them which creates a very messy look that is not desired. By splitting the surface into strips, dividing the strips into individual triangles (Figures 19.2 to 19.4) and attaching wide tabs on the exterior, the “finned edges” look is achieved without the bulk and inconvenience of actual finned edges. The tabs not only serve as a structural component, but also an aesthetic component, optimising the design.

front. back.

26 25

24 23

22 20

18 19

21

19.3 19.419.2

19.1. Unrolled, labelled and colour coded strips of the extruded section.

19.2 to 19.4. The process of splitting a strip into individual triangle to create the finned edge effect.

24 28

fabrication.

The card cutter in the Fablab was used to greatly reduce the manual labour of construction. Card cutting is similar to laser cutting because it is a subtractive fabrication technique (Gershenfeld, 2005). The card cutter was used because it does not produce burned edges, which were

undesirable for this project: the material was to be as clean as possible. Fabrication technologies such as these are becoming increasingly popular as they facilitate the transfer of concepts from virtual to physical with ease.

Fabrication technologies are becoming increasingly popular as they facilitate the transfer of concepts from virtual to

physical with ease.

lighting.

The type of ambient lighting achieved was influenced by The Principal’s Cosmic Quilt (Bozzi, 2012) where different sized light spots overlapped, creating an interesting overlaying effect, especially in curved sections that overlap (Figures 21.6, 21.8, 21.9)

One of the main functions of a lantern is to project light. Three circuits which contained three LED light globes each were wired up in parallel to provide light (Figure21.5 and 21.7), and to ensure equal intensity for each globe. The LEDs were suspended in the centre of the lantern using fishing wire to ensure an even transmission of light.

21.1

21.7

21.2 21.3 21.4 21.5

21.6

21.8 21.9

final model.

final model.

MODULE 4: REFLECTION

Virtual Environments explores the concept of “representation” through the use of different mediums. In order for a representation to exist, there must be a phenomenon it can be based on, which, in this case, is the natural process of ink diffusion. Another prerequisite for existence is the presence of the material which the representation is made of. Therefore, representations and the materials realisations are mutually dependent. Throughout this semester, different materials including two dimensional drawings, plasticine, virtual and various paper/card models were constructed to represent the natural process of ink diffusion into water. The properties of the material can influence the quality and success of the final model by limiting or enhancing function.

In the Ideation phase, two-dimensional representations of the patterns in natural processes were explored. These are useful for analysing underlying patterns, but not particularly useful for representing three-dimensional form, especially when the drawing skills are a limiting factor. By transferring the process to plasticine, simple forms were created and general light/shadow studies are able to be conducted. Physical models figuratively as well as literally, add another dimension to the representation because they make visible the material interactions with the physical form. Although plasticine is highly malleable and easy

to use, it lacks strength in connections and it is difficult to represent detail. During the Design phase the process was translated into a virtual model on Rhinoceros, where the model is able to be represented with a high level of complexity. The virtual model is able to be manipulated easily which hastens the refinement process. The only limitation to the virtual model is the inability to observe the structural qualities of paper. The construction of the paper prototypes give insight into not only structural qualities of paper, but also other qualities required for a lantern such as transparency and aesthetic appeal.

The entire design process consisted of going back and forth between multiple prototypes and different materials to refine the model. Sometimes, when looking at certain representations, details or important aspects are not evident. For example, form cannot be observed using two dimensional media and lighting cannot be observed when using plasticine. By using a smorgasbord of media the best qualities of each material is used to enhance the final design.

reflect.

It is evident in the 21st century today that robots (essentially digital technologies) are taking over the world (Mitchell, 2000). In order to be a member of society in the future, it is essential to have the skills to operate technology. Virtual Environments has taught me the valuable basics of many digital technologies. These skills are essential to a future career in architecture, where there is evidently an increase in technology dependency. By learning the “language of the Rhino”, a world of creative possibilities has been opened up to me- it is almost like a new method of designing, a new creative frontier that is waiting to be explored.

The subject has also made me think about the bigger picture and question the role of designers in the world. The amount of power a designer has over the built environment is daunting as well as exciting but with power comes responsibility. As the human built environment is a major contributor to environmental crises, (such as climate change and deforestation), is it possible for a reversal to occur? We are the problem, but can we also provide a solution?

Furthermore, there has been a development in my understanding of the designing process. Previously, I was too emotionally attached to my work and often moved forward with only one concept in mind. By keeping my eyes open to other concepts and

being open to refinements at all stages of the design process, I have learnt that advancements can be made at all stages of the design. In fact, there is never a “final” design because there are always ways to improve it, if not now, in the future, when the environment has changed, and the function of the product also changes. If I could remake my entire lantern again, I would perform further alterations on the form and detail on the panels. I would also explore using new fabrication techniques and even using technological advancements such as sensors and shutters to create a lantern that is adaptable to its environment.

The importance of visual communication has also been enforced throughout this subject. The use of effective layouts is especially important in catching and guiding the eyes of viewers. Through the combination of evocative images and an effective layout, a successful presentation can be created. Although my layouting is not perfect, I have improved my technique and am aiming to create minimal, effortless layouts that feel balanced and inviting. Again, these skills are very valuable and essential for future portfolio work.

Overall, Virtual Environments has been a pleasurable learning experience. I don’t deny the gruelling challenges, but I have come out the other end more experienced and knowledgeable.

reflect.

“Cyberspace is reinventing the body, architecture, and the complex relationship of the two that we call inhabitation,”

-(Mitchell, 2000)

references.

?, 2012, Virtual Environments Lecture 6: Design Practices, lecture

Ball, P., (2012): Pattern Formation in Nature, AD: Architectural Design, Wiley, 82 (2), March, pp. 22-27

Bozzi, N., (2012), Cosmic Quilt by The Principals, last updated: April, 2012, accessed: 2012, <http://www.theprincipals.us/projects/>

Fleischmann, M., Knippers, J., Lienhard, J., Menges, A., and Schleicher, S. (2012): Material Behaviour: Embedding Physical Properties in Computational Design Processes, D:Architectural Design, Wiley, 82 (2), March, pp. 44-51

Gershenfeld, Neil (2005): Subtraction; Addition; Building Models. In FAB: The Coming Revolution on Your Desktop--From Personal Computers to Personal Fabrication, Basic Books, pp. 67-76; 93-101; 103-113

Grozdanic, L., (2011), Hybrid Hotel in Dubai is inspired by Singing Waves Phenomenon, 2011, at evolo, blog, accessed: 2012,<http://www.evolo.us/architecture/hybrid-hotel-in-dubai-is-inspired-by-singing-dunes-phenomenon/>

Loh, P., (2012), Virtual Environments Lecture 4: Material Spaces, lecture

Macfarlane, B. (2005): Making Ideas. In Architecture in the Digital Age, B. Kolarevic (ed.), Spon Press, London, pp. 182-197

Poling, Clark (1987): Analytical Drawing. In Kandisky’s Teaching at the Bauhaus, Rizzoli, New York, pp. 107-132

Roudavski, S, (2012), Virtual Environments Lecture 9: Augmented Spaces, lecture

Selenitsch, A, (2012), Virtual Environments Lecture 5: Design Spaces, lecture

Widrig, D., (2010), Crystallisation, last updated: 2007, accessed: October, 2012, <http://www.danielwidrig.com/index.php?page=Work&id=Crystallization