Module Four

Headings Century Gothic 14 pt

Body Text Century Gothic 10 pt

Annotation Century Gothic 6 pt

Module Four: ReflectionLucy Watson

Student No: 584866Semester 1 2012Tutorial Group 7




Content: Chapter One:

Chapter Two:

Chapter Three:

Chapter Four:

Ideation

Design

Fabrication

Reflection




Chapter One: Ideation




Natural processAt the beginning of the semester when we were told the outline of the course, and that we were required to select a natural process in which the semesters work would be based upon, I immediately began to brainstorm different ideas that I was interested in (Figure 1 and 3). I made a list of possible ideas, such as butterfly wings, with their geometric shape, the unfolding of a flower, and the pattern of a bee’s hive. I had also considered the natural process of snowflake formation and crystallization. After reading Ball’s ‘A winters Tale’, I became in-spired to explore snowflakes further. I began to research how they are formed, and the different types of snowflakes there are. I was also inspired by Jackson Pollocks painting (Figure 2), which explored fractal qualities, which is also evident in the growing branches of a snowflake.

Figure 1 - Part of time lapse drawing

Figure 2 - Jackson Pollocks painting

CrystallizationThere are many different types of snowflakes, and it is often said that no two snowflakes are the same. There are so many differ-ent variations of snowflakes, that it is almost impossible to find two that are exactly the same. This is because the formation of snow-flakes and their product is de-pendent on the environment in which they are in when forming. Temperature and humidity play a huge role in determining the design of a snowflake.

Figure 3 - Sketches and brainstorming ideas




Figure 4 - Time lapse drawing (above)Figure 5 - Sketches and trials (below)

To develop my ideas further I made a series of drawings and sketches. I gained inspiration from the different precedents I researched and made sketches based on mostly these. I ex-plored such things as their geometric shape and also some more abstract idea exploration with clay.

Design Exploration




Precedents and inspiration

Precedents and inspiration In the first module, I relied quite a lot on prece-dents to find inspiration for the way I wanted my design to look and what sort of effect I wanted to achieve. I began to research different build-ings and structures in architecture that used snowflakes as its inspiration. I came across some very interesting installations and artwork by dif-ferent artists which inspired me to develop my ideas further. In particular I found ‘Snowflake’ by Tokujin Yockioka for Kartell, an installation in Mi-lan, very inspiring, as it began me thinking more about the type of effect I wished to create from my lantern rather than just its aesthetic appeal. Tokujin Yockioka wished to create a very myste-rious feeling in which the audience can enjoy and be amazed at.

Design Evolution After deciding on my natural process of snowflakes and crystallization, I then proceeded to explore this concept more. I trialed making paper snowflakes, which did not turn out as I had wanted (Figure 8). After unfolding the paper snowflake I then refold-ed in a different way and reached an interesting shape which I really liked (Figure 6). It was aes-thetically pleasing as well as being complex in the process I took to find it.

Figure 8 - Unfolded paper snow-flake

Figure 6 (above)- Refolded paper snowflake

Figure 9 - Snowflake – By Tokujin Yockioka for Kartell

Figure 7- Sketch




Lecture TwoThe combination of week one and week twos lecture started me thinking about different ways of displaying and projecting the idea of a natural process, that doesn’t necessarily resemble the natural process itself, but more an abstract display of it. I found the documentary shown on aboriginal art and songs and also the paintings ex-pressed a different way of documenting a landscape which to some may appear as un-representational, but to others, tells a story and also can provide as a map of a certain landscape.

I also liked the idea of fractal systems, and how they include one pattern repeating itself many times, progres-sively getting smaller. This idea was presented in Policks paintings, and how trees are fractal systems with each branch looking very similar to the overall tree, except on a smaller scale. I then began to research natural pro-cesses, like the growth of trees, which occur and include

Lecture Three

Week three’s lecture i found quite interesting, as it showed the opinion of desig from a person who special-ises in mathematics, which normally you would see as being completely different from design. The lecture ex-plored patterns and the different ways you can manipu-late a design using computer software. This was relevant to the subject as soon we will be using Rhino to construct our lanterns. The lecturer passed around his creations, and I was able to see the complexity in each one, show-ing that a lot of time and effort had been taken in form-ing the object.

Lecture OneWeek ones introductory lecture began me thinking about pat-terns, and how many constructed buildings have patterns that combine together to form a building. In the tutorial where the assignment was described to me and I began to understand the prescribed task, I started to think about different patterns that exist in natural processes.

Figure 10 -Jackson Pollock




ReflectionThroughout this module I trialed many different models exploring the natural process that is undertaken in the production of a snowflake. I used different materials such as plasticine and paper to trial different ways to express this process in a physical form. I also completed a number of sketches drawing from inspiration from both architecture and interior de-sign. From these trials I was able to determine what shapes and patterns I preferred and those that were not as good. I really liked the trial I completed experimenting cutting out snowflake from folded paper, and then manipulating this into a different design. Other trials such as the plasticine trial I didn’t like as much as it was too simple, and I couldn’t see a way of developing it further. I liked that we were asked to research precedents from the beginning of the semester, as it was very useful in finding inspiration.

Design refinementFrom my paper design that I formed from my paper snowflake, I then recreated this in clay, in order to use in the next module and also to see what it looked like in a different material.

I was very happy with my finished design at the end of this module. Although I knew it would be altered in later modules, I was happy with the base that it formed for me to develop later on. It expressed my natural process in the way I came across the design, as I had tried to make an actual snowflake from paper, and in failing to do so, came up with a more in-teresting and aesthetically pleasing result.

Figure 12 - Clay ModelFigure 11 - Clay Model




Chapter Two: Design




Contouring I decided to go with the method of slicing my clay model in to sections and then uploading the traced contours into rhino. I chose this method as my design was quite thick and I believed that this method would work best for my model. As I began to think about contouring, I drew lines on an A4 piece of paper with a distance of 1cm. I then placed my design onto the pa-per and proceeded to produce contour lines, which would help me visualise my design more in terms of contours (Figure 13). After completing this, I realised that my design was quite boring in terms of the contours, as they were very similar in shape. I then decided to distort my design further to create more interesting lines. After distorting my design, I then sliced it into sections to make it easier to create the contour lines. I placed the sections onto A4 paper and traced around the edges (Figure 14).

After tracing the contour lines (Figure 15), I then uploaded them into rhino, and traced around the edges to form contour lines that I could use to form my model in rhino (Figure 16). I then suc-cessfully placed the contour lines on top of each other, forming the basis of the lofting process (Figure 17).

Figure 16 - Contour lines in Rhino

Figure 13 - Contoured clay model

Figure 14 (far right) - Sliced clay model

Figure 15 (direct right) - Traced contour lines





Figure 18 - Contour lines in Rhino Figure 19 - Contour lines in Rhino


In module two I struggled with the rhino software, particularly with the design I wanted to create, as it lofted fine, but was very simple, and even with the simple model I had formed, I struggled greatly with creating panels (Figure 18 and 19). Therefore I de-cided to extend my design further and make it more complex and interesting. I played around with different controls and set-tings in the software, and explored my original design further. I decided to stretch this design to make it more complex. I did this by producing more contours above the original, therefore add-ing more interest to the design and allowing me to play with it more. I was very pleased with the end result (Figure 20), as it was more complex, and therefor individual than my previous design, and I was also able to create pannels and use the software in the way I had originally planned.

Digitizing




2D PanelingAfter playing around with more con-tour lines above the design, I then lofted it and reached my final base, which I could explore further. I liked this base design as it wasn’t too complex, therefore allowing me to control differ-ent aspects of it, but complex enough to produce and interesting effect.

I began playing with basic paneling af-ter successfully lofting the design. Firstly I tried simple rectangular panels, and then trailed triangles and dia-monds before moving onto custom 2D paneling, where I explored with such shapes as stars and circles.

3D PanelingAfter successfully playing with 2D pan-eling, I then moved onto 3D paneling, which I found to be much more com-plex.After trailing 3D shapes such as cones, boxes and cylinders, I decided that I much preferred 2D paneling to 3D panels. This was not just as it was much less complex, but I also liked the sim-plicity of the 2D design, and preferred the clean, geometry of those designs. I explored further with this and settled on a triangular design. The triangular design was aesthetically pleasing, as well as representing my natural pro-cess as snowflakes often take the form of a triangle, or the have triangles imbedded within them. I also had to think about the effect the lantern was going to create one the lights were installed, and I believed triangles cre-ate a very pretty and dreamy effect, which was what I was trying to create.

Figure 21 (far right) - 3D Paneling trial

Figure 22 (above) - 3D Paneling trial

Figure 23 (above,left) - 2D Pan-eling trial

Figure 24 (left) - 2D Paneling trial




RefinementAfter trailing 3D shapes such as cones, boxes and cylinders, I decided that I much preferred 2D paneling to 3D panels. This was not just as it was much less complex, but I also liked the simplicity of the 2D design, and preferred the clean, geometry of those de-signs. I explored further with this and settled on a triangular design (Figure 25).I wanted to create perforations within each triangle (Figure 26), but couldn’t get it to work as I desired in rhino, so decided I would create these manually once the design was printed, which would allow more freedom with where each perforation would go and what size it would be.I experimented with finned edges, to see what effect this gave, but decided this wasn’t necessary, and too complex (Figure 27).

Figure 25 - 2D triangle paneling

Figure 26 - Perforations

Figure 27 - Finned edges




Lecture ThreeThis weeks quest lecturer was a past student of the University of Melbourne, and talked to us about the design process of one of his designs made in his Mel-bourne based company, Earl Pinto. I found this lecture very helpful in thinking deeper into my own design of a lantern, and realized that there are many steps involved in the creation of such an object, and that there are so many different aspects I could explore further before I come to my final product. He spoke of how he and his business partner came up with 8-12 different prototypes before reaching a final design. He had different obsta-cles he had to overcome throughout the design pro-cesses, such as the materials that would be used, and customer feedback, which had to be taken into con-sideration. This relates to our second module, as we will no doubt be changing our original designs as we look further into hem and try to make them more complex and interesting.

Lecture FiveThis week’s lecture, Paul Loh came to speak with us, and took a similar approach to the lecture as last week’s guest lec-turer, but rather on a larger scale. He also talked in much more depth about patterns and how patterns are all around us. He spoke of patterns in architectural design, and how patterns can be found everywhere, not just in architectural design, but also in cities and especially in nature. He then began to discus what a pattern is, and how it can be defined. He used the definition of patterns being repeated or repeating elements of a sequence, that are often visually recognizable. After giving different examples of patterns being expressed all around us, he then move on to a specific example, which was the formation and organization of the Eureka Pavilion. The concept was to design and build a pavilion that used a leaf as its inspiration. Instead of thinking simply about this, they decided to look at the leaf in detail, so they zoomed up on the leaf and explored its patterns on a scale of 100:1. They decided on a non-periodic tiling pattern where the pattern used will repeat itself. Similar to last weeks lecture, Paul described how the design process was not a simple one, but took much time and often they could find themselves taking two steps forward and one step back. This is similar to the process that we will take in the design process of our lanterns, and it as nice to know that this happens often and that we should not be discouraged if we find ourselves moving backwards in our own processes, as this will benefit our final design.

Lecture SixThis week’s lecture was the first in while that wasn’t taken by a guest lecturer. Therefore the lecture focused less on examples and more on the thinking that will be required in the next few weeks. As we are leading up to the next module presentation, there was much discussion on design space exploration and also representation. In particular the idea of solutions was discussed, for example Pythag-orean theorem, and the notion that there are many different ways of finding a solution. It was also mentioned that in design there are no rules, or rather the designer has the ability to change the rules. This began me thinking about altering my original idea, breaking the boundaries and trying to think more complex about my design, as there is no single language in design, no one way of looking at things.




Further ResearchAs I started to think about the texture for my lantern in module two, I decided to look closer at the surface of a snowflake, to see if it could provide some inspiration. I researched images of snowflakes magnified to see the surface up close.

From my research I found that different types of snowflakes have differ-ent surface textures, some being quite smooth while others more rough and bumpy. It is often discussed that no two snowflakes are the same, but when Nancy C. Knight, of the National Center for Atmospheric research in Boulder, Colorado viewed them under a microscope, she discovered matching snow crystals in 1988. Although the crystals were not your usual snowflakes, but rather hollow hexagonal prisms, nonetheless they appeared very similar.

When viewing snowflakes under a micro-scope, care must be taken in order not to deform or melt the ice. Most snowflakes are observed by researchers at a moderate magnification of 30X to 500X, often using low temperature scanning electron micro-scope (LT-SEM). This is because of the fragile nature of snow samples, being sensitive to exposure to light, which is needed to photograph the crystals. By using LT-SEM, samples are frozen to tem-peratures below -170 degrees where they can be placed in a vacuum and observed for many hours with no structural changes.

The size of a snowflake, and subsequently the surface, depends on time, temperature, and he amount of water vapor available, and is usually translucent in appearance.

Figure 28 - Crystalization





Further Research Snowflakes also sometimes form what’s known as feather ice, which form at temperatures below -30 degrees Celsius. I thought this form of crystallization was appropriate for my research as I could picture my lantern adopting similar char-acteristics to this.


Figure30 - Crystalization




Paper PrototypesCurves and Edges

While I was experimenting with paneling, I made two different prototypes to test differ-ent panels. These included a curved edge made using white print paper, as well as an edged prototype using the same material. This let me get the feel of using paper and helped me picture different panels.

Figure 32 (far right)- Curved pro-totypeFigure 33 (right)- Edged proto-type

Figure 34 (far right)- ZPO tower Dubai

Figure 35 (right) - Modern Web-bing Wall Decor Panels Duomo by Michelle Arieu



Annotation Century Gothic 6 pt ReflectionThroughout virtual environments we were encouraged, and also required to use different forms of media and design to trial new ideas and explore our concept in further detail. For example, in module one, my tutor encouraged us to exper-iment with the pictures we used as inspiration. This involved printing out the actual picture, and then further developing it by drawing over it, or bending it. We could also edit the image in such computer software as Photoshop or paint. By doing this, it forced us to think of our natural process in a more ab-stract way, and therefore challenging our ideas. In this module in particular, the movement from forming models out of paper and clay, into a digital form in Rhino, was quite a complex one, and it was a challenge learning about the program itself, and then trying to create our own design in it. Many people, including myself had to alter their original ideas as it was prov-ing very difficult to model in Rhino.




Chapter Three: Fabrication




Layering and ColouringAfter coming up with my final design, I then began the unfolding process in preparation for sending my file to the fablab to be printed.

To do this, I firstly had to group each row together, and made each row have its own layer, and colour coded these layers (Figure 36). This allowed the unrolling process to be much easier, as I was able to see clearly which layer had been unrolled and which hadn’t.

UnrollingAfter lining each row out (Figure 38), I then added tabs man-ually to each unrolled face, I surrounded each face with a tab as I knew that any that weren’t needed, I could remove later. I also grouped each unrolled surface with a number, to make the construction process easier. I then drew three boxes of measurements 90cm by 60cm, and then evenly placed each unrolled face into the box-es, along with their individual numbers, ensuring there was enough space between each unrolled face and also the edges of the box (Figure 37).

Figure 36 - Coloured/ layered model

Figure 37 (above)- Unrolled surface, numbered

Figure 38 - Unrolled surface




Preparation for FABLABTo prepare my file for sending it off to the lablab, I removed all unneeded layers, and was then left with twenty different shaped unrolled faces in three different groups, for each page (Figure 39). I then created three new layers; default, cut and score. The score layer I coloured red, the cut blue, and default I left black. The outside tabs I selected and labeled them cut, with every few line being a score line, so that when I collected it from the fablab, the pieces wouldn’t all fall out. The folding lines I labeled score. I also labeled the score. My document was then ready to send to the fablab (Figure 40).

Figure 39 - Unrolled, numbered

Figure 40 - Unrolled, numbered, colour coded




PrototypeFor my prototype, I trialled different things before using them on my final model. I tried different glues (Figure 41 and 42), such a craft glue, and found that this did not set quickly enough and didnt glue very well. I then decided to try super glue, which I found ideal as it dried very fast and was very strong (Figure 43). I also trialled different ways of shining the light source to achieve the best effect. I liked it when the light created a pattern on the wall, so I directed the light so it would shine out of the perfora-tions, to allow this to happen (Figure 44 and 45). I trialled creating perforations in my prototype and found this quite easy to do, and liked the freedom I had. I was able to ex-periment with different shapes to see what effect they created.

Figure 41 and 42 - Glue

Figure 44 and 45 - Testing light

Figure 43 - Gluing proto-type




CuttingAfter collecting my document from the fablab (Figure 47), I then took it home and began to manually con-struct my lantern. I firstly began to cut out each piece using a Stanley knife (Figure 46).

PerforationsI then began to cut out different shaped tri-angles in the panels to form the perforations for my lantern (Figure 48 and 49). I did this manually using a Stanley knife, and found this worked well as I had more control over the de-sired shapes and sizes of the perforations.

Figure 46 - Cutting

Figure 47 - File from FABLAB






ConstructionI then began to construct my lantern using super glue. I followed the screen capture of my design in order to help me put each of the pieces together correctly. I also wrote the number of each piece on in grey lead to guide me.

Figure 51 - Constructing lantern

Figure 50 - Constructing lantern




Precidents Allianz Arena - North of Munich, Bavaria, GermanyAfter my design was complete, I found that it looked quite similar, or had similarities to the Allianz Arena. I was more the circular shape of the arena that it reminded me of, rather than the texture of the building, but even this had similar qual-itites. Also the way it lights up reminded me or it.

The Louvre in France shows similar qualitites to my lantern, such as the triangular formation in which it is formed, and the effect it gives when it lights up. Although the triangle design seems quite simple, it creates a very nice effect when teamed with light.

ReflectionI really enjoyed module three, although I found the unrolling of my design quite difficult, I really enjoyed putting my lantern together and having a physical model of my work. It was very rewarding seeing the hard work pay off. From my prototype I decided to have my card cut using the laser cutter instead of the card cutter, as I liked the lines the la-ser cutter left behind. I also learned that I should use super glue instead of craft glue for my final model. Looking back at the past modules, I realized that I had forgotten my original inspiration for my lantern, but as we were forced to go about the assignment in a certain way, I could see my inspiration carried through to my final design. The way the light shines through the perforations expresses the silhouette of a snowflake falling in the winter. The white paper also ex-presses my inspiration, as well as the triangular perforations cut out in a seemingly random way. I really enjoyed using the FABLAB to produce my lantern. I made sure I submitted my file to the FABLAB as early as possible, in order to avoid any delays in collecting it, this prevented me from having any issues in this regard, although I know many people had issues with lost files and late pick up, which made the construction process quite stressful as they were running out of time. I think the key lesson learned here is to be prepared and understand that the FABLAB is under a lot of pressure at this time of year. Final design decisions for my lantern were the way it would be displayed, which I decided it would be hung from the ceiling using fishing line, and be able to sway back and forth allowing the lighting to create shad-ows on the walls.

Figure 52 - Allianz Are-na - North of Munich, Bavaria, Germany

Figure 53 - The Louvre

Chapter Four: ReflectionHeadings Century Gothic 14 pt



What are the learning outcomes of this subject and its relevance to your further studies and future? I have learned great deal this semester in Virtual Environments. The subject is unlike anything I have ever done, therefor at the beginning I found it quite a challenge, not only with the huge workload and hours required, but also with the complex way of thinking that it required. It is easy enough to just say, ‘make a lantern’, but in this subject, we were required to do much more than simply make a lantern. We needed to think of a natural process and then from this, draw different ele-ments to then create an abstract form. It was helpful looking up different precedents to find inspiration for the project.

The subject taught me a range of things, not just about the content of the subject, but also good lessens for other subjects and later on in to think about in the future. This included time management, which was an issue in the third module where we were required to submit our documents to the fab lab in time for them to then print it, and leaving us enough time to construct our lanterns before the deadline. I myself was quite good in regards to this, as I realized that there would be a last minute rush to submit work, so I planned ahead and had plenty of time to construct my lantern. Other people were not so lucky, as they had issues with lost documents and damaged paper, which often cannot be avoided. Considering this, it is also important to leave enough time for potential problems like these.

I also found the digitizing process helpful, as it forced me to get to know Rhino, with helpful tutorials, which I couldn’t have done without. I am not all that good with computer software, and this made learning a new program that much easier.

I am thinking about majoring in Landscape Architecture, and I realize that this required quite a bit of computer support to do, therefore this subject is a great way to get a feel of the sort of computer programs I will need to learn to do well in this field. Overall I really enjoyed this subject. The lectures and reading were very interesting and insightful, and the assignment was fun to do while also challenging me and forcing me to push barriers.




How do representations and their material realizations (or insights) may be mutually dependent? Representations require materials in order to translate to an audience; therefor they depend on each other greatly. In virtual environments, you had to master both your representations in the virtual form and also in a physical material, you could not simply to one or the other. This was important as it showed the design process from an idea, to then translating that idea into a material prom, either paper or clay, then translat-ing that into a virtual form an altering it there, and finally back into a physical model again. The process elements that depend on each other helped me keep a track of my progress also, and forced me to learn different media types which will be useful later on. The final presentations in the paper material was the pinnacle of the entire subject, with the parade allowing us to show off our semesters work.




References

http://somethinordinary.blogspot.com.au/2009/01/natures-spectacular-geometry-of.html

http://www.gizmag.com/zpo-tower-dubai/12077/

http://www.bestarchitecturaldesigns.com/2012/02/modern-webbing-wall-decor-panels-duomo-by-michelle-arieu/

http://www.dezeen.com/2010/04/20/snowflake-by-tokujin-yoshioka-for-kartell/

http://www.claytonandlittle.com/index.php/claytonlittle/newspage/104

http://www.busyboo.com/2010/08/08/room-divider-snowflake/

Documents

Module Four