IDEATION

Guo Yu 634209 Semester 1 2013 Group 9

Natural Pattern

According to week 1 lecture and Kindisky, forms of representations and rules that create complexity in nature can be expressed through structural relationships within patterning. And there are three steps towards this expression. Firstly, define a general geometrical from of the objects. Secondly, define tension or connections between those geometry shapes. Finally perform a simplification to the overall form.

My chosen natural pattern is the microscopic cocktail, Martini. Through my experiment of reinterpret this pattern following Kindisky’s way, I find out the ideas that introduced in the reading can actually been translated as

revelation of orders behind those patterns. The pattern of Martini is formed because of mix of several different alcohols. The order of the pattern is created by shaking, so bubbles of pattern can be formed.

While drawing my chosen pattern, I find that my pattern actually generates completely random geometric forms, but still have strong connections between each other. Also because my pattern has great range of scaling, it creates a sense of movement. I also used the idea of solid lines and dotted lines introduced in the reading, which the solid line represents the scaling movement and the dotted lines represents the visual connection between those movements.

Analytical Drawings

Analytical Drawings

A key point I find out while creating my recipe, is that the three representations actually has strong relationship with each other. Which means they can not exist separately, and must be bonded together as an integral. I feel those ideas introduced in both readings and lectures are also crucial to my further designing and modelling

Precedent & Emerging Form

Hotel Puerta Repetitive Rhythm Patition Walls, by Plasma StudioThe Hotel Puerta America is a new radical design hotel in Madrid. What struck me about it is the repetitive triangular patterning and the degree of similarity to my cho-sen pattern. The design is essentially extrusion of irregular polygons from one point. And the combination of

various sizes and shapes of them allows it to create a sense of move-ment.

I decided took this idea of extrude from one point as my emerging form.

Because of the complexity of my chosen pattern, I found it is quite difficult to model it within small scales on paper. So I decided to remake my models form the workshop in a much bigger scale. It is based on the four steps and I have also included a visual diagram of procedure.

Firstly, cut a random triangle on paper at least 10 cm^2 in surface area(1). Secondly, measure one side length of the triangle and base on this length cut another triangle which includes this length in one of its sides(2). Then use sticky tape to stick the two identical sides together(3). Finally fold the junction of the two triangles, so it could stands up(4). Repeat the step, make sure all junctions are firmly attached, so it forms a polygon extruded from one point(5).

Modeling Process:

Moments of Transformation

Moments of Transformation

In my new model, I also experimented a variety of moments of transformation introduced in the reading according to Philip Ball. The ‘Martini’ liquid is a mixture of various alcohols. So it is able to generate a self-organised arrays of patterns. Although none of the patterns are identical to each other, but they shares a common attribute of boundary and symmetry breaking; as the centre point of each polygon attract its apexes to form a radiating arrays of lines, pointing outwards. In this case, I try to cut a series of blended strips on each surface. I also experiment and adapt a few alternatives based on the

same concept, so that the visual impression of my model appears richer.

Another transformation moment associated with my pattern can be interpreted by the process of making the cocktail. Shaking can result in producing aggregation of similar sized pattern. In general, bigger patterns tend to attract bigger ones and repulse smaller patterns, smaller patterns tend to attract smaller ones and repulse bigger patterns. This can be noticed in the original image of my pattern. And I have also used Rhino to generate digitalized models representing this relationship.

Precedent & Initial Model

This pavilion is essentially conceptualized based on a Chinese Lantern that immerse sound and light experience. The basic natural pattern for the structure is flame. Flame is a very free-formed pattern that usually does not generate uniformed repetition of shapes. In this case, the designers derive natural flame patterns into each separate rhombus pattern. What interesting about flame patterns are that they tend to focus on one point at the top. So there is a sense of movement and balance included within the pattern. To interpret these ideas, the designers of the Golden Moon let the rhombus flame units follow a pattern based on an algorithm for sphere penalization. The penalised patterns gradually changes so that it creates a very dynamic space; and moves so all of them points to the tip of the sphere. Also by putting the axis of this cladding grid not vertical

but under an angle, the dome gets an asymmetric electrocutional. The gaps between the rhombus units create a perfect space for light to went through. In fact, if translate it to a actual lantern, it will generate a direct and extruded shadow affect.

I think I have already simplified my chosen pattern in the previous process. What my main concern now is how they can be presented. Thinking of how to utilize this fantastic looking design. I was particularly interested in the spherical shape. I can simply just switch those rhombus units in this design to my emerging forms. I think this could be the formation approach for the general shape of my lantern. Also the design mainly used the direct shadow effect, which could also be one of my approaches further on.

The Golden Moon, by Kristof Crolla and Adam

During the week 3 workshop, I found that it is quite impossible to make my exact emerging form by clay in the 1:5 scale. So I decided to further develop and simplify my patterns. Then combine them together.

The exact process is quite simple. Firstly make two triangle based pyra-mid. Secondly attach one of each surface together. Repeat this pro-cess until a sphere generated. Each

pyramid emphasise several units of my emerging form as demonstrated in previous model. So the texture of the surface will appear richer.

I considered how the lantern should interact with my hand. A spherical object is usually a bit awkward to hold with hand, So I think the sphere should be hollow so a hand can hold up inside it.

Clay Modeling

Clay Modeling

When I got this model finished, I started to dislike it. Simply because it looks quite boring and no sense of movements can be captured. And the interaction between the lantern and the hand doesn’t appear to be

comfortable. So I think I should restart the process again by looking into a different precedent with a greater dynamic feel and a greater sense of connection to the hand.

Evaluation

This time I feel more satisfied with the outcomes. However, I think it might be good to consider a several set of these combined to form a truss of forms. A single one just looks like a torch which doesn’t appear

to be very attractive. Also the way hand interacts should also be reconsidered, so it looks less like a torch.

Evaluation

Lighting Effects

Lighting Effects

Direct Effect 1, repetition of small patterns aggregate light Filtered Effect, thin lines filter the light Direct Effect 2, through blending and layering extrude the light

I really liked all of the three photos. Each of them emphasised two specific light effect at the same time. The top left one shows a direct effect, but by very small scale of patterning. This allows it to filter most of the light and create a sense of denseness. The top right one demonstrates filtered light effect, but at the same time has directed effect. The bottom one includes both direct

and extruded light effect.

The idea of combined light effects will be my main approach. Just because it will enrich the variety and diversity of my lantern. On the far right-hand side, I included some sketching to demonstrate how those effects can be merged into my emerging form as well as creating a shadow effect.

DESIGN

Composition Strategy

In responding to Module 1, and tu-tor’s feedback immediately after the first presentation, I find a es-sential drawback of my initial idea; which is the lack of relevancy to my original chosen pattern. This is mainly because I accidentally chose a second pattern from the research of some precedents. After the seminar, I immediately take account of the issue and starting to think a solution of it. The central idea is to keep the overall form from flame, but switch and search the origin from my analyti-cal drawings. My chosen pattern, the microscopic view of Martini, has a great range of scaling qual-

ity. Further develop and adapt of this quality into my lantern will be crucial. This process shall be dem-onstrated in the next few pages by using Rhino on the modelling of my overall form.On the other hand, the lecture about composition strategy has been a significant in the past two weeks of digitization and model-ling processes. As stated by Paul, the strategy of our pattern com-position is about taking action as well as making judgement at the same time. In the TED talk by Thomas Heatherwick, those ideas has been revealed in many of his design processes. In particularly

the seed cathedral where the overall form of the building actu-ally is influenced by the decision of showcasing seeds. It is not inspired from a general natural pattern or processes, but rather from the basics of the design. It was devel-oped from the design itself. Those amazing structures are there only to exaggerate the vast amount of seeds, and give rise to a strong visual impact. I think all those techniques will also be very helpful especially in the next stage of my lantern design, where it becomes more open formed and by using Rhino; much more possibilities and opportunities can be discovered

through and from the design pro-cess.

The second reading on various approaches about abstraction is also phenomenal. I starting to understand that forms and origins of abstraction does not neces-sary to be defined. I think in order to achieve the best out of my lantern, a certain amount of free development must be undertaken just to consider the forms of ab-stractions.

Composition Strategy

Contouring a clay model

As demonstrated in the orthographic photos, I have carried on from the flame form to make a clay model of it. After it was finished, I was fully concerned on how I can digitize it. As show on the top image, my initial approach was to use two of the strategies provided in the appendix. Because the base is split after a few levels. (Shown in the bottom right image) The middle parts are probably suitable to trace the profile curves. So I slice them off from the body. Because the two pinnacles are extended for a fair distance, I

thought it would be easier to just cut them off and make it in Rhino. For the base unit, I decided to digitize it by cutting and tracing sectional slices of it.

This process also has helped me to start to move towards my original pattern. The bottom image has clearly show a range of scaling. This actually relates to the scaling quality show in my analytical drawings. This aspect I thought will have to be carried on to any further development.

I initially put the base units of the model into Rhino and started to trace the curves and loft it. However, I started to get a sense that it has not achieved my desired effect. The traced curves are simply too curvy on its edges that is departed from my pattern and analytical drawings. It doesn’t look good either. I had a conclusion that digitizing a clay model would just be in appropriate for my pattern and design so I should look for other options.

So instead of trace the profile curves for the rest of the middle part, I started to do an experiment on the ‘Loft’ command in Rhino. In my thoughts, command Loft would be perfect for my further digitalization of the overall form. The concept is simple to understand and the basics are very mathematical as well. It is also able to fit my original pattern, because by doing the scale command on a bunch of polygons and then loft them seems like to be the appropriate next approach.

Digitalization

T P

R L

370

250

482

My second approach is completely free digitization on Rhino without any support from the clay model. In fact, I founding that it is much easier to manipulate without those supports, especially in the content of my chosen pattern. It is basically some scaling on ten-sides polygons and then move them vertically so it can then be lofted. The top

part has been done under similar process, but rather in other kinds of polygons. I am quite pleased with the appearance of this particular model. It has been strongly related back to my chosen pattern where many scaling has been done. Also because I have rotated the curves so it forms a spiral symmetry. And this kind of symmetry has also

been demonstrated in my previous analytical drawings.

In terms of the dimension of the lantern, I thought about it quite thoroughly, where it should neither be too big or too small for one have to hold. By measuring my own hand stretch width and length, the relatively appropriate dimension

has been considered and stated above. Also in terms of interactions with hands. I thought it as an add-on of my right hand. The pointing down the bottom represent a sense of continuous dynamic from the natural curvature of hands and arms; which then has been extended and split to numbers of branches to show the continuing flow of movements.

Panelling

I have created a few various kinds of 3D and 2D panels which some of them will be shown in the following parts. However, during initial panelling, I find that my lantern is extremely difficult to panel. Partially it is because of the complex geometry where many components have some of their surfaces being quite close to the others, which means I can only put 2D panels on those surfaces. Nevertheless, another major issues

has been risen also due to the complexity of the geometry. I find it is essentially impossible to panel the whole structure at once and it is actually only possible to put one panel at a time on one grid section. It takes endless amount of time and effort which I think should be able to get away. This would be the central aspect I need to consider for further developments.

Panelling

The origins of some of the ideas of my panel alternatives comes from the forms of transformations for my pattern in module 1. I find it is already pretty much shown a good range of alternative and only small changes and alterations needs to be done. Another important aspect to consider for the panel alternatives is the shadow and shade effects. I was

thinking about using filtered, direct and extruded light effects for my lantern.

Also there origins have strongly related to my chosen pattern in terms of blending which has been demonstrated in the analytical drawing by those dotted lines connecting edges of polygons to the centre of it.

Origins of Panel Alternatives

Tabs & Prototypes

I haven’t got a effective light source so no actual light effect has been caught. However, the paper I’ve used tends to become too flexible after gluing, which is hard for assemble. The strip gap in the prototype does not seem to be successful, mainly due to the

paper quality. Since the blended strips are just too thin and too flexible, I should consider change the panel design. As conclusion, the prototype has been relatively successful in terms of structural stability.

FABRICATION

FABRICATION

Unfolding

Constructing

The 1st partial prototype has not been successful, almost half of the panels has been set into the wrong rotation and since they are all quite small and similar to each other, I only realised the issue during assembly. As shown in the images, many of the panels doesn’t fit into its designed position.

Reflections from 1st prototype:* The panels are too small and takes too much time and effort to assemble. * Always be careful with the rotations of the unfolded panels.* 250gsm ivory card was too thick which makes the edges to tilt, regarding to those complex geometries in my panels. * Regarding to peer reflections, laser cutters will create slightly burnt edges and normal white glues will make paper wrinkles the paper.

Constructing

In my final model, I decided to change the panel design completely, by using a combination of much larger panels. It should make the actual paper model easier to assemble and at the same time creates stronger visual impact.

I decided to use the black card

instead of the white ivory card, since it is 200gsm, 50gsm lighter than the white ivory card. This should make the fold lines have lower possibilities to tilt.

I also took a great care while unfolding, making sure every single rotation is correct.

Redesigning Panels

Constructing

The assembly process I decided to use is making bigger groups of panels first, then connect them together afterwards. The panel groups are show in the top left image.

All glues used is the UHU glue. It allows the glue to stay on the surface of the card rather than went through it like the conventional superglue. It also doesn’t react with the paper and wrinkle the tabs.

Constructing

REFLECTION

Final Model

In my final model, I have decided to utilise both white and black papers to emphasise more dynamism into the model. In addition, I have changed by original intended lighting effect to a hardware based, fading light effect generated by building and soldering a electric circuit.

The final outcome has been satisfying. None of the parts are falling of and I have managed to hide the whole circuit including the battery within the model.

The interaction with my hand appear to be ideal as well.

REFLECTION

Responding to the two readings and past 12 weeks, it really has been a unique opportunity and experience. Personally, I have done such design portfolio before. Although the basic structures are similar and I do find myself familiar in many ways, but it still appears to be a very unique experience.

Instead of rational designs, the largely use of Rhinoceros for model formation and experiment has been very helpful. As this program will also be largely used in the architecture industry, it really has been a pleasure to get a early grasp of how the industry has changed in the twenty-first century.

In regarding to the second reading, in my opinion, design is a

process of venturing. Always bring unknowns to our normal world. From a complicated piece of architecture, to graphic slogans; endless experimentation and implementations will always be part of a design process. Similarly during the design process of my own lantern, I have initially taken a quite unusual pattern as my starting point. Balancing the risk and potential, which I saw from the pattern it, makes the decision. During the digitalization of the model, I did not take the usual path of contouring a clay model. Rather riskily, I decided to create the overall form completely from scratch in Rhino, only based on the original recipe and context drawing from the existing clay model. I think one really important thing that I learned form

the past 12 weeks is not only taking risks during design, but also always be optimistic, learn and change from failures.

Nonetheless, I think a few weaknesses are unveiled through the journey. One main drawback is my time-management. As I always rush at the end of each task’s due date results in poor presentation. The second essential weakness is through my ideation process where sometimes I could be easily off the central topic and recipe of the task. Having a open mind is a good thing, but on the opposite, it might result in complete off track. These will always have to be avoided in the future.

To conclude this wonderful journey. I think I have done a brilliant job

and the experience really has been fantastic. The modern context of architecture really opened my mind which instead of conventional functional approach, a piece of architecture can also be a piece of irrational art at the same time.

By extracting ideas and recipes from just a simple natural pattern, the pool of possibility is huge. And by utilising what I have learnt now, it would be possible for me to become more creative and innovative in the future.