Student No: 587256 Semester 1/2012 Group 7

Dylan Morgan

I have decided to model my lantern on the life cycle of the Case Moth, specifically the Saunders Case Moth during the metamorphosis period. They get their name as the caterpillars of the species construct portable ʻcasesʼ, using silk to weave varying plant material into it. In the instance of the Saunders Moth, this involves sticks and twigs. Pupation and the transformation into a moth takes place within the case, after one or two years

I chose this process for a few reasons. Initially I was exited by the intriguing shape, and the way the sticks would lend themselves to this project. But as I analysed the process I found more interesting aspects.

This involves the way the cocoon encompasses the creature, the involvement of light throughout the lifecycle, the physical and mental emergence of the moth, and the fact that a relatively vibrant creature contrasts the dull exterior of the case that surrounds it.

I hope to explore these four concepts in the design of my lantern.

TIME LAPSE SKETCHES

Exploring The Natural Process INTRODUCTION

Black Narcissus

This idea of becoming as beautiful as what surrounds you relates to the ʻcase mothʼ, in that it reflects its surroundings in order to blend in. In addition to this, the uncontrollable and all encompassing affect that this piece has links well to the concept of a cocoon. It surrounds and encloses the animal inside it, filtering the light in a similar fashion to that evident in my model (pictured right). This concept of a wild and erratic growth that interrupts light translates well to the concept of a cocoon (or case).

This concept was born from the fact that the Saundersʼ Case Moth spends almost all its life inside its case. The growth like, stick covered cocoon can be closed and opened during the caterpillar phase, and while it is woven, it seems as if it is swallowing the insect. In terms of a lantern this concept will involve having a form that surrounds the person wearing it, with a suffocating appearance.

ʻBlack Narcissusʼ (pictured above) designed by Gabriel Esquivel and David Hernandez highlights the importance of involving all methods of fabrication. Inspired by contemporary fashion, the idea was to produce a structure that combines a parametrically designed large form, with nonparametric flowers. It refers to narcissism as a natural condition of self-admiration and the idea that we become as beautiful as what surrounds us (as evident in the film ʻBlack Narcissusʼ).

CONCEPT 1 All Encompassing Cocoon

Developing the Concept

Metro Station 20, Sofia

This proposed metro station in Sofia, Bulgaria, was designed by Peter Ruge Architekten to bring the underground space up to the surface. It draws its physical attributes from the predominant architecture of the neighbourhood. This mirrors the cocoon in itʼs ability to camouflage itself with material of itʼs immediate surroundings.

The station is also planned to filter natural light, just as the case does

It emerged from underground, representative of the way the case moth surfaces, following pupation.

This ribbon like representation of a form that surrounds life and activity clearly relates to the encompassing lantern that I hope to develop through this concept. However the relatively flat and two-dimensional design I have done to the left will not suffice in terms of fabrication and aesthetics

Float ribbon chair by New York based designer Susan Woods

Developing the Concept

I have now moved from the idea of a wrapping lantern, to a more growth like form. This complies more appropriately to the concept of a cocoon that closely surrounds the life within it. The above sketch looks good in that it hugs the person wearing it, however it may pose problems during fabrication in that the close fitting form has little room for error. The basic surface doesnʼt yet reflect the defensive and vulnerable exterior of the case mothʼs cocoon. Adding complexity in the surface, while simplifying the degree to which it encases the person wearing it, is the next logical step.

This more rigid form (below) reflects the defensive nature of the case moth described below more accurately. The less smooth surface with increased complexity adds to the effect of a living organism that encompasses the person wearing it. Similarly, the incorporation of open panels that are more intense near the edges (and disperse as they get further away) creates this effect. This is a favourable aspect and should be developed further

Further development of the concept

Developing the Concept

This sketch and model demonstrate more accurately the entangling organism that will best reflect the way the mothʼs cocoon is moulded around its body.

Specifically, the bulging area in the middle of the back acts to accentuate the growth-like trait I have explained. It also brings the focus of the lantern to a central point, making it look like it is extending from this point around the body, rather than just having a tightly fitting form (which doesnʼt accurately show the idea I am attempting to portray).

Accompanying this bulge would be a larger group of lights, further highlighting the central point.

I feel the need to link this idea centred on the incorporation of natural light back to the example of the proposed metro station in Sofia, Bulgaria.

As I wrote earlier, a focus of this canopy that emerges from the underground train line was to bring light from above, down into the station.

Analysing this, in relation to my lantern and the process of the case moth, the link can be observed in that it filters light to varying degrees depending on the level of the sun. The way it interrupts the light can be representative of the partial involvement of light during the first stage of the metamorphic period of the mothʼs lifecycle.

Metro Station 20, Sofia

CONCEPT 2 The Involvement of Light

By analysing the life cycle of the Saundersʼ Case Moth I have noticed the varying degrees to which natural light is present throughout the numerous stages. This idea of representing the mothʼs development (and therefore my chosen process) with light is an interesting avenue to explore, considering the need to focus on the way we are going to illuminate our final lanterns.

Stage 1: The first 1-2 years of the cycle involve the caterpillar living in its case, however they are able to manipulate it in order to enter and exit to find food. Therefore light is partially involved at this stage

Stage 2: The second stage (pupation) lasts approximately 1-2 months, at which time the caterpillar seals itself inside the cocoon and begins metamorphosis. It can be seen that at this point there is absolutely no light

Stage 3: This final stage lasts only a short while and involves the male moth emerging triumphantly from its case, to live free from the burden of attempting to defend its fragile caterpillar state. This involves a flourish of natural light until the end of the life cycle

(Onwards)

By cutting slots that increase in size as they move away from the centre in a piece of paper I was able to create a similar feature to that of the metro station. The slots filter light and disperse it to physically represent the above sketch, however it does not represent the different stages present in the sketch. The model shows the possibility of using this method in my actual lantern.

Developing the Concept

Partial light No light All light

This sketch demonstrates the stages of the mothʼs metamorphic cycle, at which light is involved to varying degrees. An important aspect of the shape is the fact that it opens up towards the end to demonstrate the vibrancy of the moth emerging from its cocoon. Note that at this point form continues to open to reflect the continuous involvement of light in the moth stage of the cycle.

Concept analysis

Physical representation

Figure 2

Figure 3

Developing the Concept

Further development

By involving the open faces in a similarly shaped design to the previous page, the full extent of this concept can be visualised. Represented are the three phases of metamorphosis discussed earlier.

Figure 1 shows the partial presence of light during the initial stage. This gives the impression of life existing inside a cocoon like form, similar to that explored in concept 1.

Figure 2 demonstrates the pupation stage, and the lack of light during this process.

Finally, figure 3 excellently conveys the emergence of life from the cocoon as the male moth leaves to find a mate.

Figure 1

Manipulating light

Assessment of concept 2: the involvement of light

Developing the Concept

As an added level of light manipulation I have chosen to explore the possibility of filtering light through the open panels (if I choose to incorporate them). This could be done by using a clear material with stripes on it to cover the open panel (or some sort of design), or by cutting more intricate holes out of the panels, which are elongated to achieve the desired filtering effect (as pictured left).

This may be helpful when attempting to differentiate the phases in the cycle, for example allowing a decreasing amount of light through panels of the same size, as the fist stage begins to blend with the second.

However this may be an impractical solution, depending on how the idea lends itself to the fabrication process.

This is certainly an interesting and important aspect of my chosen process, however I believe it will be better served by just incorporating it into a better representative form that focuses on a more appropriate aspect of the process.

This would involve using the dispersal of light throughout the three stages as an addition to the final form I create. For example: adding it to the cocoon concept discussed earlier.

This San Francisco fountain by Canadian artist Armand Velankur more appropriately conveys the contrasting forms I wish to create. Similar to the idea of a house delivering water, however the tangled, rigid and industrial looking spouts mirror the harsh exterior of the cocoon.

Vaillancourt fountain, San Francisco

CONCEPT 3 Contrasting States in the Cycle

Upon analysing the physical transition of the case moth, from a caterpillar to a moth, I was able to draw a link to its mental transition. It can be observed that that as a caterpillar the insect is in a vulnerable and defensive state (evident in that it camouflages itself with sticks and retreats with it is threatened). However as a moth it is vibrant and free.

I have therefore decided to explore this transition through the contrast of the two states, but more specifically the emergence of the contrasting state following pupation.

I immediately saw the link between this and the way water escapes from both hoses and fountains. The fluidity of water represents perfectly the insect after pupation. The relatively rigid hose, in comparison to the water it delivers, acts as a representative of the somewhat immobile caterpillar form, in comparison to development into a moth.

Carrying on from the shape developed during concept 2, while considering the three stages of metamorphosis, I created this form. By adding to this with the incorporation of a fluid form emerging from the end I have adapted it to this concept. The severe surface on the body of the design contrast the form that is seemingly escaping from its end, similar to that of the moth transforming from a caterpillar to a moth.

This also brings into question the possibility of incorporating both black and white in the final design. Having different colours will further distinguish the two forms, thereby aiding the concept.

However, I am concerned about practicality of this design, as creating two completely different shapes may cause problems in regards to time during the fabrication.

The Journey, Canberra

Developing the Concept

ʻThe Journeyʼ consists of 37 major sculptural forms (named ʻOssolitesʼ) that emerge from the polished concrete floor of the foyer in the ActewAGL building in Canberra. This provides a perfect example of a fluid form escaping from its calm and docile previous form (i.e. the concrete floor). The incorporation of light is also interesting. I could possibly explore the use of a lot more light in the fluid form, than that of the rigid one that I create

Apposed to the idea in the top left is the possibility of not having one form emerging from the other, but to have a more abstract representation, where the contrasting shapes converge, as pictured alongside. While in this sketch the two halves are relatively the same, I would develop them to be starkly different.

I think it is also important to involve my previous concepts, in this case the use of light. One half could be lit to a greater extent, in a similar way to which the emerging forms are illuminated in Robert Fosterʼs ʻThe Journeyʼ, pictured below.

Developing the Concept

Incorporating the first two concepts I have developed this design. The sketch to the immediate left has the growth-like quality that I hope to portray, evident in that it extends down over the shoulder. The fluid form emerges from the outer shell (which represents the vulnerability of the caterpillar state) as discussed previously.

Developing the Concept

This idea involves the encompassing cocoon as well as the emerging form, discussed previously, to achieve a better representation of the process of the Saundersʼ case mothʼs metamorphosis.

Assessment of concept 3, contrasting forms.

This was a much stronger idea than the previous concepts in that it reflected the main focus of the process (the emergence of the male moth). While it may be time consuming and difficult to make I think it is worth developing further, with the incorporation of the concepts of a growth-like cocoon, and the involvement of light throughout the process.

La Fabrique Sonore, France

This piece relates specifically to my intention not only in its appearance, but the fact that life exists inside the comparatively dull exterior of the structure in the form of sound, providing a contrast similar to that of the caterpillar and itʼs case. The use of light aids this affect, breathing more life into the dreary environment of the French underground.

CONCEPT 4 Contrast of the Caterpillar and its Cocoon

While in concept three I focused on the contrast of the vibrancy of the mothʼs final stage and the placidity of itʼs existence as a caterpillar, I will now turn my attention to the contrast of the harsh exterior of the case and the relatively bright life form that lives inside it. I want to specify that this involves the insect at the stage prior to pupation (as a caterpillar), as apposed to concept three.

The idea will lend itself to a double layered lantern, with the inside layer having vastly different attributes to the outside layer, which I will develop in the following pages.

“La Fabrique Sonore”, designed by artists Ali Monemi and Robin Meier and architect Hyoung-Gul Kook, acoustically amplifies the sound of champagne bubbles in the French underground system of corridors. The audio system creates a continually evolving sound environment, with the help of the basic geometric pattern of the form.

In this case the inside form would be lit and the outside would not to clearly define the contrast.

In addition the inside may be white, and the outside black to amplify the representation of both the life inside and the harshness of the outside.

Sketch representing the harsh exterior of the mothʼs case, providing a stark contrast to the fluidity of the insect

Developing the Concept

Initially I reverted back to the flowing ribbon idea for the exterior, with a smooth form to fit inside it. A couple of problems arose from this design. Firstly the ribbon doesnʼt appropriately represent the severity of the caterpillarʼs case (demonstrated in the sketch below).

As well as this the two very separate forms do not interact, providing an unwanted discontinuity. These problems are addressed in the sketches below it.

I moved to the concept, pictured bottom left, following the unsatisfactory result of my initial sketches. The inner form represents life well in its fluidity. This is a positive outcome in attempting to portray this stage of the mothʼs life

The outer shell is closer to the brutal form I hoped to create, and most importantly it allows for the interaction of the two forms, as the organism can seemingly grow through the holes provided.

In exploring these four concepts I have noticed the obvious links. These concepts can therefore be used in conjunction to maximise the representation of my natural process.

The idea of a fluid form emerging from a rigid one, to represent the changing mental and physical state of the insect during pupation

The focus on having a growth that mirrors the traits of the mothʼs cocoon in that it encompasses the person wearing it

The involvement of light throughout the process, to better represent the changes of the insect through the

period the lantern is representing

Representing contrast displayed by the harshness of the cocoon and the vibrancy of the caterpillar inside it

CONSOLIDATION Combining the Four Concepts

Key Concepts Discovered:

Below is the design that combines all four concepts. It wraps around like a cocoon, and at the same time the contrasting forms are represented well.

Note that the fluid form is incorporated in its surrounding form

The involvement of light throughout the process of metamorphosis is also present. Similarly to the way I explored the idea under concept 2, the process begins underneath the right arm and continues up towards the left shoulder (as displayed in the sketch below

VARIATIONS

Combining the Four Concepts

Combining the Four Concepts

Final model

Note: I was unable to put the spikes through the form surrounding it as it was to intricate for the material I was using

This initial stage has been both challenging and rewarding. I think the approach I adopted allowed me to maximise the representative qualities of this proposed lantern design. This is due to the fact that I was able to more closely analyse specific aspects of the process of metamorophosis, this was, in the end, I succesfull approach.

However I do have concerns for my design moving forward. While I hoped to create something different from any other lantern, I can see challenges regarding the complexity of this proposal. The fluid form is particularly intricate, and the figure hugging rigid form will make it hard to create the appropriate size.

As far as a solution to these problems, I can foresee the need to simplify the design somehow.

Getting to this point though, while it has been challenging, was aided greatly by gathering examples of design in the form of architecture and sculptures amoung others. These influences contributed to the development of my design by breathing life in at various stages.

Similarly to this, making models allowed me to explore my ideas in a very conceptual way, for example the filtering of light with the green lantern I created.

Overall I am pleased with my design, and look forward to developing it further.

MODULE 1 REFLECTION

References

http://lepidoptera.butterflyhouse.com.au/psyc/elong.html

http://www.evolo.us/architecture/black-narcissus-is-parametric-designed-installation-based-on-contemporary-fashion/#more-15473

http://www.evolo.us/architecture/sofia-metro-station-proposal-peter-ruge-architekten/#more-15723

http://funsterz.com/2012/02/28/ten-of-the-most-amazing-fountains-in-the-world-10-photos-10-videos/

http://the-riotact.com/actewagl-explores-the-journey/36490

http://www.evolo.us/architecture/la-fabrique-sonore-acoustically-amplifies-the-sound-of-champagne-bubbles/#more-15717