MODULE FOUR: REFLECTIONSTUDENT JOURNALS

SEMESTER 1, 2013VIRTUAL ENVIRONMENTS

Faculty of Architecture, Building & planning, University of Melbourne

Yiran Dong580414Tute 11

ContentSEMESTER 1, 2013

VIRTUAL ENVIRONMENTS

Faculty of Architecture, Building & planning, University of Melbourne

Module 1 3-8

Recipe 3Analytical drawings 4

Emerging forms 5Models 6-7

Light effect of the final model 8

Module 2 9-13

Contoured physical model and Rhino final model of module 1 9Model tests 10

Problems and solutions 11The complete model in module 2 12-13

Module 3 14-18

New modules 14Fabrication 15-20

Wires and lantern holding 21

Module 4 22-24

Module 1: ideation-Recipe:tiling

3. to choose a point as the a center to connect with other

points.

4. to construct a bisector between one point and all the others

5. the voronoi cell is bounded by the intersection of these bisectors

6. to erase all the points and unnecessary lines

1. to set a point in the centre of every stone to represent the location of each stone

2. to take a set of points

Reflection: in this section, I use the first stage of simplification in the reading of ‘Analytical Drawings’, to analyse the pattern. There are numerous rocks with any sizes and shapes in the pattern. It makes the pattern become very complex. Thus, I use the method of simplification to convert ' the whole complex' into 'one simple overall form' (Poling 1987). Sometimes, I treat a group of countless tiny rocks as a unit. Sometimes, I will also count the small rocks into the unit of its closest giant rock. Based on simplification, the second stage of analysis in the reading. can help me easy to find the basic rules of symmetry, balance and movement in next section.

Module 1: ideation-Analytical drawings

The areas with yellow ink are the areas with big stones, the rest areas are filled with smaller or tiny stones

Analytical drawing 1: Symmetry

Analytical drawing 2: Balance

1. A point represents a stone

2.

Base element

3.

represent the space a stone occupies

4. The stones, which are on the edge is usually bigger than the stones, which are in the centre. It seems that stones are moving further and further when they are closer to the centre.

scaling

Reducescale

Analytical drawing 3: Movement3-D Extrusion of pattern

My basic element: A pentagon and a quadrangle

Reflection: This section, in fact, is the second step of analysis in the reading of ‘Analytical Drawing’, I use the step of simplification I learnt from the previous section of recipe to simplify the patterns in different ways to find the relationships of the different units. These relationships are included symmetry, balance and movement. Moreover, I make a 3-D extrusion of pattern, which is generated from the analytical drawing of movement, to find the base element of polygon and pentagon. Next, I use the two elements to make emerging forms in next section.

Module 1: ideation-emerging forms

1. mirror Emerging form 12. rotate by 360 degrees

Top view Front viewBird view

Emerging form1

Emerging form 2

1. scaling the pentagon 3. rotate 360 degrees

Decreasing scale

Emerging form 2

Top view Front view Bird view

3. Scaling: their ratios are 1: 2: 4

2. attach pentagon to polygon

Reflection: I use a pentagon and a polygon as the base elements to generate the two emerging forms. The two emerging forms illustrate the rule of the analytical drawing of movement that the closer to the centre is, the further and smaller the things are, I think that emerging forms generated from the pattern always need to link back to the pattern.

Module 1: ideation-models

Old Emerging form 1

Simplification of Emerging form 1

New Emerging form 1

Model 1-based on Emerging form 1

The old emerging form is very complex. it is very difficult to be a part of more complex model. Therefore, I simplified it into the new emerging form, which indicates the same rule with the old emerging form. The rule is that it is getting smaller and further when it is closer to the centre.

It represents new Emerging form 1

Small emerging forms 1 attach to larger emerging forms to encircle with my arm Model 1

Model 1 Top view Front view

Top view

Reflection: Based on the two emerging forms, I developed my models further. I think that the emerging forms can be part of my model. Moreover, I will consider how to hold the lantern, so I can organise the positions and the order of the emerging forms in my lantern model.

Top view

Model 2-based on New Emerging form 1

Module 1: ideation-models

New Emerging form 1

Larger Emerging form 1 will turn small Emerging form 1 around to form a lower level. In the end, these Emerging forms will become a cone shape

Model 2

Model 3-based on New Emerging form 2 Base element of Emerging form 2

Move the pentagon up to the top. Then, twist the pentagon downwards. The element will have a decreasing trend

Rotate the entire base element 180 degrees.

Put a base element lower than each other

Model 3

Top view Back view

Similar to emerging forms, the three models are trying to show the rule of analytical drawing of movement. In the three models, the emerging forms with large scale are usually far from the emerging forms with small scale.

Module 1: ideation- light effect of the final modelIn this section, I select model 2 as my final model. I choose the direct light to show the effect because other types of light, such as cut and layered light, will make my model effect become weaker.

Light effect of part of the final model-overlap

Light effect I expected-overlapWhen I was building model 2, I purposely place emerging forms in same and different levels. Thus, the shadows can cross each other to form overlap effect. Figure 1 indicates the light effect of a single emerging form. Similar to glowing boxes, light will also pass though the material of model 2 to show beams of light. Some light might be blocked by the material of model to illustrate shadows. Figure 2 is the overlapped effect I expected. Shadows and light from different models will cross each other to become a new shape on the wall. The new shape will give people a new feeling towards my model.

Figure 1 Figure 2

The overlaps between light and shadows form a new shape of rectangle

Like what I expected, the overlapped effect the final model had is reflected on the wall. Similar to the figure 2, the overlaps lead to various shapes of light on the wall

Reflection: in the section of light effect, I utilise the scientific method to test light effect. First, I made a hypothesis that the final model may have an overlap effect. Second, I do research of looking for similar artworks and photos to see how the overlap effect will look like. Lastly, I made a part of model 2 to verify my assumption of overlap effect. This method help people further understand the formation of the light effect of model 2.

Part of the final model

Module 2: Design—make final model by using Rhino

Model 2

The contoured model Method 1: Using orthographic views to make contoured model Rotate 90 degrees

New emerging form l

Top viewIn order to made Rhino model 2, I uses Panel custom 3D to paste New emerging form 1 on the contoured model

Making contoured physical model

Side view

Reflection: In this section, I decide to use the idea of abstraction, which is mentioned by Scheuer and Stehling (2011), to show the information of the final model in module 1. I made a 3-D Rhino model to try to include all the construction information in the model. To put information all together will help me to see the overall effect of my model more clearly. When I finished the Rhino model, I discover that patterns in the modern are not connected. It means that this model is impossible to be built in real life. If I do not use the idea of abstraction at the beginning to make a 3-D model, I might find this problem after a long period of time. My step is to make a new model the new model should have both similar appearance and light effect with the final model.

Making the final model by using rhino

Module 2: Design—Tests

1. the first test: Manage 3-D pattern and Panel 3-D grid .

3-D pattern

Panel 3D grid

3. the third test: the same method with a new pattern

2. the second test: the same method with a different pattern

Side view Back view

Side view Top view

Test heights of the pattern

Reflection: In this section, I made many tests to see what effects different patterns can give me. I believe that though these tests, I will get the model i wanted. During the process, I does not only test different patterns, but also test different heights of patterns. Unfortunately, I still cannot get the model I really wanted. I think that there are two reasons why these models cannot achieve my goal. The first reason is that there is a seam in each model.

A seam

The second reason is that my pattern is actually extruded towards the centre of the model. Nevertheless, all the patterns in these models are grown on the surface.

I think that I I must solve the two problems, if i want to make a similar model with the final model in module 1

Module 2: Design—Problem fixation

1. the first problem: seam

The old pattern Consequence

X-axisThe reason of causing the seam problem is the pattern does not start at the X-axis or Y-axis. If the pattern does not begin at the two axes, a seam will be left on the model surface Hence, it is essential to draw the pattern from the origin.

1. the solution

Y-axis

X-axis

Y-axis The seamless model

2. the second problem: the patterns are on the surface

The old grid Consequence

In previous model, the heights of the patterns are positive, so their patterns are only on the surface. If we adjust the height to negative, the patterns will be at the back of the surface.

2. the solution

The patterns are below the surface

Reflection: in this section, problems are solved. I will apply these solutions in next section. I realise that during the process of looking for the similar model with the final model in module 1, 1 actually use the mathematical methods of testing, questioning and solving problems. These methods normally are used to ensure the accuracy of answers in mathematics. Therefore, through these method, I might get the model, which perfectly fits all my requests.

Module 2: Design—complete models in this module

The complete model 1-Library 3-D pattern + offset point +Panel 3-D grid

Surface domain number Offset point with a distance 0f -5

Manage 3-D pattern Panel 3-D gridOffset border,

unrollingPaper model makingLight effect

The shadow of a pattern is like a rock and the shadow of the model looks like stone land. This effect is exactly what I expect

Reflection: After solving all the problems, I begin to build new model. When I can be sure that his model has similar appearance with the original model, I start to unroll the model to make a paper model. This step can prevent me from making the mistake with the original model that the model cannot be established in reality. Next, I test the light effects to check the overlap effect, which the original model has. Besides this, I also discover that both the appearance and the light effects of my model can link back to my original pattern of stone land. Hence, I think that this model is a successful model.

I unroll the Rhino model. Then, I made the paper model to test whether it is able to be built.

This model has a very similar appearance with my final model in module 1. The model is also like a stone land. It seems that each pattern is a rock.

The effect of overlap

Module 2: Design—complete models in this module

The complete model 2- library 2 D pattern+ Fin edges+ offset borders

library 2-D pattern Panel 2D grids

Offset border Fin edges

The failure of unrolling-twist and overlap

back view front view

Model 2

Model 2

twist & overlap

Reflection: in this module, the idea of abstraction encourages me to make a 3-D Rhino model. The method of making contoured physical model is also used to help me make a 3-D model. The establishment of a 3-D model can prove that my 'final model' cannot be built. Then, I made more tests to look for a similar model. Nevertheless, the problems of seam and patterns on the surfaces arise. After that, I apply their solution to two complete models to try to get the similar model with the final model in module 1. Few steps are used to check whether the complete models are successful similar models. First, I will check the similarity of the appearance of the new models and the original model. Second, I will unroll and fabricate them to see whether they can be built. Last, I will check whether it has the similar light effects with the original model. The complete model 1 is the only model, which achieve all my requests. Furthermore, it has a strong link with my original pattern of stone land. Just like what I said in module 1, my model should be always link back to the original pattern.

This model is similar to the original model as well. The whole model is also like stone land and rock. However, when i try to unroll it, there are many twist and overlap on the top of the model. These twist and overlap cannot be solved. As a result, this is a failed model.

Module 3: Fabrication—Problem fixation and New models

The problem of fabrication in module 2

2 layers

1 layer

When I fabricate the model in module 2, I find out that the number of layers is inconsistent. While the part of two patterns meet usually has two layers, the part of no meeting patterns only has one layer. The inconsistencies between the layers of patterns will cause problems during the process of fabrication. Therefore, my new model needs to avoid the problem of overlap while keeping the similar appearance of my model.

New modelsNo overlap

library 3-D pattern

Final model in module 2

Panel 3-D grid+ Offset borders

This model has similar appearance with the final model in module 2 .

Plan to add light into the model

However, it seems that the lantern is too exposed. It might have no light effects, if we order light in this way. As a result, I decide to add a cover on the 3-D pattern in the new model so that the new model can have overlap effect.

Generate a new 3-D pattern

Panel 3-D gridOffset borders

New model 2

New model 1

Reflection: in the third module, I still use the mathematical method of questioning and solving the problems to generate new model. The appearance and light effects of the model are all considered in the module. It is same with Kolarevic's opinion towards the surface strategy (2003). Besides of supporting the model, the surface of the new model 2 also has the other function of blocking the lights, which will result in the overlap effect.

Module 3: Fabrication—Unrolling the new model 2New model 2

Separate it into two layers Coloured the two layers in order to differentiate them

Nesting

Reflection: This model is formed by 3-D patterns. It is very difficult to unroll and fabricate the model. Hence, I determine to treat it as addictive fabrication, which I mentioned in the reading of 'Architecture in the digital Age-Design and Manufacturing' (Kolarevic 2003). The new model 2 is considered to add a cover on the top of the new model 1. The cover is the addictive layer. Then, I separate the additive layer and new model 1 to make unrolling easier. Moreover, this reading also says that assembly is one of the hardest steps. It is because components might be mixed up. In order to prevent from mixing components, I coloured all the components to make sure that I can differentiate each of them. The two ideas in the reading help me in both unrolling and fabrication.

The lower layer ( New model 1) The higher layer (the cover) The lower layer The higher layer

unrolling

Module 3: Fabrication—unrolling and cutting

Add tabs and dashes Printing by using cut cutter machine

Reflection: After I added tabs, I begin to think how to cut off these components . Compared to hand-cut, CNC cut cutter is a better choice. It is because many triangles, which needed to be cut, are in each component. It is impossible to be cut all of them by hands. Cut cutter can make my life easier and save more time. Then, the next thing I considered is the limitation of the cut cutter, which is talked about in Kolarevic's reading (2003). The cardboard, which I want to use to make the model, is in the range of the thickness and materials CNC cut cutter can cut, which has been given in the reading of 'Architecture in the digital Age-Design and Manufacturing' (2003). Therefore, in the end, I receive the well-cutted higher and lower layers.

The lower layerThe higher layer

Module 3: Fabrication-Process

The lower layer

The higher layer

The lower layer + the higher layerThe higher layer

The lower layer

The lower and higher layers

New model 2

Module 3: Fabrication—Problem and solutions

1. Problem 1-distortion caused by extra materials

2. Problem 2- the obvious seam between two parts

1. Solution

2. Solution

The extra materials

Distortion

Flat surface

My solution is to remove the triangle to eliminate the extra ,material

The tab on the left

The tab on the right

This is the way of plug the upper layer into the down layer. Red represents tab.

the obvious seam

The solution is to change it from two sides to one side tabs

Invisible seam between two parts

This is the new ways of making model

Reflection: when I finish the first model, I realise that there are many problem in the fabrication of the model. After that, I use the mathematical methods of questioning and question solving to improve my model.

Module 3: Fabrication—modification and unrolling

New model 2 is derived from the final model in module 2. One of the important points of the final model is that both appearance and effects are similar with my original pattern of stone land. Similar to the final model, New model 2 can also reflect the original pattern on its appearance that each pattern in the model represent a stone in the stone land. Kolarevic's reading (2003) inspires me that I should look for the right material in the model to make it perfect. Hence, when I heard that we can also use black colour cardboard in the same model, I start to think of filling up with the holes between patterns in my model by using the black paper. The black cardboard will be like the soil between rocks in a stone land. Its property of blocking light might also give me a surprised effect.

holes

Fill up holes with black paper

The modified model

Unrolling the modified model

New mode 2l

I unroll the modified model and use the solutions into it. I remove the triangle from the higher layer to prevent the extra materials. I just add tabs on the right side only to make the seam become invisible.

Reflection: in this section, other material are also taken into consideration to improve my model. In fact, I do not only consider the appearance of the black cardboard, but also thinks of its property. Besides of its black colour appearance, it can also block the lights. I think that it might give a new light effect to the lantern. Also, all the components of my models has been coloured in order to prevent the assembly problem, which is mentioned in Kolarevic's reading (2003).

Module 3: Fabrication— more fabrication and light plans

More fabricationThe lower layer The higher layer

I connect them in this way ( red represents tabs)

The modified model

Light plans-overlap1. the first light plan

2. the second light plan

The light effect in this plan is not natural. It also does not fit to my basic rule of my pattern that stones are getting smaller and further when close to the centre.

The light effect in this plan is natural. The light becomes weaker when it is closer to the centre. It just fits to my basic rule of my pattern. It gives us a sense that light in the centre is further from the light on the side. Therefore, I choose it as my final light plan.

Reflection: in this section, I fabricate the model by using the way, which I provide in the solutions. The improved model becomes tidier and more flat. After that, I begin to think how to place lights to achieve the best overlap effect. In lecture 10, the lecturer reminds us to link back to the original pattern. Therefore, compared two plans, I believe that the second plan is better. It is because it is more related to the basic rule of movement of my pattern. Its effect is also more natural than the effect of the first light plan. This section considers both fabrication and light plan

Side view

Front view

Back view

Module 3: Fabrication—wires and lantern holding

wires

This is my wire plan. I expect that these wires can be part of my back view

The back view of the model with wires

wires lantern holding

Reflection: When I can be sure where to place light, the next problem is how to place wires. I think that my wires should become a part of back view instead of ruining it. In addition, these wires also become a holder to allow me to hold the lantern.

Module 4: reflection-light effects

light effects on the lantern

light effects on the wall--distance from small to large

Reflection: After the completion of wires and fabrication, I begin to test light effects. The light on the whole lantern looks very natural. Furthermore, the light passed though each level of patterns to form the effect of overlap. The shadow on the wall can prove it. When the lantern is closer to the wall, the overlap effect is weaker. This is why we can see clear triangle shape on the wall. When it is further from the wall, more overlaps occur. Hence, we can see these changes on the wall. Surprisingly, the lantern also forms a picture with the wall to give me a new impression. Moreover, when I review the model in the first module, this lantern has similar appearance and light effect with final model in first module. This is what I pursued at the beginning. In addition, it is also has a strong link with the original pattern in both light effect and appearance Therefore, I believe that this is a successful model.

Reflection-Week 4

In the reading of ‘The third industrial revolution’, Rifkin highlights the changes from the first industrial revolution to the second revolution. He also makes prediction to the third industrial revolution. He believes that the society will change from centralized and gigantic economy to collaborative economy. In fact, many benefits the third industrial revolution will bring, which are mentioned in the article, has been experienced by me in my last 10 weeks. At the beginning, I think that it is difficult to describe the effect I wanted to show on my design. All my sketches and words are too weak to explain the effect to others accurately. However, the artworks and photos, which are shared by many great artists, photographers and designers, saved me. The similar effect on the photos can well-explained the effects I expected to see on my design. The overlap effect and The Urban Cactus in module 1 are good examples to prove this. Moreover, when I was struggling with drawing the 2-D picture of my final model in module, the software of Rhino solves the problem. A 3-D model, which contains much complex information, was made by using the software. Though the model, I found a problem that the final model in module 1 cannot be built in reality. The digital technology in this section helps me abstract complex information and detect problems. Furthermore, digital technology is also contributed to fabrication. My new model 2 in module 3 is very complex and many patterns are on it. It is very difficult to make such a model by using hand only. I might cost much energy and time on it if I make it by hand. In this time, grasshopper and CNC cut machine are provided to save my energy and time. Unrolling and pattern cut are all done in few hours. Besides this, I think that if I can use 3-D printer, which is mentioned in both lecture 8 and this reading,i might be able to save more time. In fact, during the process of fabrication, I spend at least twenty hours in assembling and pasting the components. If 3-D printer can be used, less time and energy will be spend on fabrication. Hence, the digital technology is really helpful. Much energy and time are saved. It also helps us in abstraction of information and describing design effect.

In second reading, the differences between craft and industrialization are discussed. Industrialization refers to high certainty, mass production and automation, while craft are believed as ‘workmanship of risk’ (Deamer & Bernstein 2008). In other words, the objects, which are produced by industrialization, can be copied and reproduced. However, the object, which is made by craft, cannot be replaced because there is a high risk of causing the differences between two same objects. The process of printing components are been seen as the opposition to craft because the components can be printed by cut cutter numerous times without any differences. In module 2, I create many library patterns in order to get the model I wanted. Once I create a library pattern, panel 3-D grid will copy many same patterns on the model surface. This is no risk of ruining any pattern. Thus, using panel tools to test different patterns on the model during the design process is also against the theory of craft. Although there are many industrialization processes are included in fabrication and design process, a degree of design risk also exits in my work. During the fabrication of gluing different components, I must carefully control my mood and my hand, so I will not have hand shaking. If I uncarefully drops PVA glue on the model surface, all my model will be ruined Some risk actually are also in the design process that the different number of grids might give us different effects due to different number of patterns. Therefore, I think that my working process is a combine of industrialization and craft. Industrialization gives us certainty and mass production. Craft gives us variability and risk. .

Reference

Ball, Philip, 2012, 'Pattern Formation in Nature: Physical constraints and self-organising characteristics', Architectural Design, vol. 82, no. 2, pp. 22-27.

Kolarevic, B 2003, Architecture in the Digital Age – Design and Manufacturing, Spon Press, London.

Marble, S 2008, 'Imaging risk', in Bernstein, P & Deamer, P (eds), 'Building in the future: Recasting Labor in Architecture', Princeton Architectural Press, New York, pp.38-42.

Poling, C 1987, 'Analytical drawing', in C Poling, Analytical Drawing In Kandisky’s Teaching at the Bauhaus Rizzoli, Rizzoli International Publications, New York, pp. 107-122.

Rifkin J, 2011, 'Distributed Capitalism', in J Rifkin, the Third Industrial Revolution, Palgrave Macmillan, United states, pp107-126.

Scheurer, F & Stehling, H 2011, 'Lost in Parameter Space?', Architectural Design, vol. 81, no. 4, pp. 70-79.