Jessie (Jie Wen) WenAnnotation Century Gothic 6 pt

Student Number: 586655 Group 8 Semester 1/2012

MODULE 4

Natural Process:

Crux of the process: Spores

Whilst looking out my win-dow on a sunny day sadly wondering what I should do as my natural process, I spotted wild mushrooms scattered across the neigh-

bouring park.

Lightbulb lit up: WHAT PRO-CESS DRIVES MUSHROOMS

TO GROW EVERYWHERE?

Looking deeper into it, I re-searched what is to be my

chosen natural process -

SPORE DISPERSAL OF MUSHROOMS

1. IDEATION

Ideas:

DISPERSAL: Mushrooms are immobile so require a way to extend their range.

- Passive:

spore producing surfaces on the underside- ‘Buller’s drop’ ->drops into air current -> wind

FLUID, FUSE, FAST, BALANCE, SYMMETRICAL

-Active: compressed air, pressure builds

FAST, VIOLENT, DENSITY

 

Print screens of a video of a mushroom dispersing spores at night - Passive:

releasing of spores and the movement by air.

‘Much like smoke’- David Attenborough.

FLUID, GRACEFUL, SMOOTH, CURVE, ‘RIBBONING’

EXPERIMENTATION

- trying to replicate a mushroom sporing, trying to encourage an abstract idea that has been emphasized in tutorials and lectures

Trial 1: Blowing a pile of flour off my palm. It made a cloudlike structure. Th parti-cles are very fine and the motion ap-pears very smooth, looping and meld-ing around each other.

Trial 2: RepeatAnother cloudlike puff. The little clumped particles are much denser closer to the hand because of gravity. It appears quite intriciate and flowy.

Trial 3: Using a paper tube to blow out flour.Created a much more elongated curvy shape. Very wispy with the heavier particles at the bottom.

Trial 4: Blowing a pile fo breadcrumbs out of palm.Tried to test if it made a basic shape but it turns out a messy shape.

Trial 5: Using a paper tube to blow out breadcrumbs.This one was much more effective than blowing out of hand because the heavi-er breadcrumsb required more force.Again, it gives a similar puffy shape as the flour but it is more obvoius in the trumpet shape it creates.

Trial 6: Using a paper tube to blow out a mixture of breadcrumbs and flour.This trial showed the density very well. It is quite obvious that the particles slowly dissapate as it gets further away. The whole process appears very con-nected and a layering of waves that I hadn’t noticed before.

CHOSEN MODEL

Clay Modelling

Front

Left side

Top

Right side

Back

The model was quite dif-ficult to make becuase of

the layering of the swirls.

Also, it didn’t turn out ex-actly like the picture I drew but I’m still really happy with

the outcome.

Sadly, it was hard to keep standing and to keep the round central shape as it kept collapsing a bit. Hope-fully, this can be relatered and fixed when using the actual paper, instead of clay which has limitations.

Q: How do forms and contexts (of use and re-sources) influence each other?

Form and context can easily be seen as interlinked as one without the other would be meaningless. Without a form, there can be no context as it has no goal or purpose and context without a form cannot exist.

As introduced in the first few lectures, the way we percieve an object or event is all subjective as we are the ones who put meaning to the things around us. By changing the perspective we look at a form will inadvert-edly change its context. As introduced in the readings by Ball (2011), the

patterns and shapes we recognize the world that we see, defines the context we place on the world, the tree with its pattern of branching

functions as a tree, the movement of tides defines it as a tide.

In regards to our project, our goal is to create a lantern to a natural process. This in itself is very vague and as emphasized in tutorials and lectures, we need to see something beyond what the eye can see,

things that our mind cannot capture but it is happening. This form of an abstract idea is to be put in context as a lantern but how, and why, are

the questions we ask ourselves over the period of designing.

The designer is the one that gets to put into context what the form is, how the lantern functions, where it’s meant to be put into place are to name a few questions we must ask ourselves during the process. It can impact on the context on the for we choose, perhaps it will be a hand piece to be used as a torchlight or a standing form to be used as a ta-

ble lamp.

Through these aspects, it can easily be seen that form and context, it’s use and resources, have an impact on one another.

Digitization:

I found sweep2 as the easi-est method to create my desired outcome of digitiza-tion for my clay model as it is composed of many curves.

It used the two curves with an intersection, and fol-lowed the flow of the curves. The outcome looked more simliar to my model than

any previous trials.

This method relied heavily on trial and error as it was difficult to draw the curves in perspective with each other. By slowly altering the curves, I was able to get a more fluid and in propor-

tional digitizatized model.

I also used AddSlash to make the left hand side smoother. By rebuilding with less points and manipula-tion I was then able to get a much smoother and flowing surface, to achieve my final

digistized model.

2. DESIGN

Final Nurb Surface:

Front

Left side

Top

Right side

Back

The final Nurb surface orientation has been changed slightly from the clay model orientation as I have altered it’s form slightly for it to be able to stand on it’s own.

2D Panelling

Panelling with 2D patterns proved to be very insightful. I was able to learn how pat-terns etch onto and inter-act with the nurb surface. It was fun to experiment and gain a better understand-ing of different panelling commands, such as offset edges, extrude, changing the measurements and cus-

tomizing with variables.

However, I found 2D panell-ings to be a bit plain for my model and it didn’t give it as much depth as 3D pan-els. Also, there wouldn’t be as much chance for vary-ing lighting effects by em-ploying 2D panels. Many of the custom panellings had holes, making the structure very weak which would not be sufficient for my final

product.

Top row: 2D diamond panel, Basic 2D box panel, 2D Box variableBottom row: Basic 2Dbox Fin edges, 2D Fin edges, Customized offset 2D panels

3D Panelling

I then decided to experi-ment with 3D panelling which was both more in-teresting and successful. 3D panelling requires the grid points to be offset to a cetain heigh, which was a small problem because of the close proximity of the crossed over curve. To counter this, I moved my curve a little further away and tested out different off-

set point distances.

Using the basic 3D panels and then customizing pat-terns, I could see some were more structurely stable than others such as the columned customized one compared to the customized curved solid panels. Also, testing out different density, attrac-tor points, curve attractors, I was able to add another

aspect to my model. Top: Extruded basic 3D pyramid 1, 3D Box Offset edges, Basic 3D BoxBottom: Customized 3D ‘column’, Customized 3D ‘curved’, Customized 3D ‘Pyramid’

Further DevelopmentFrom panelling experimen-tation, I decided to explore the pyramid panelling tool.

Pyramid Panelling with fixed offset faces border: I de-cided the Pyramid panel-ling was able to project a wavelike motion in varying paths. Employing offset fac-es border, it added another

dimension.

The idea of light shining through something less dense compared to more dense was able to be real-ized through the use of at-tractor points instead of fixed points. The triangular offset faces get larger the further from the start, indi-cating the density of spores lessening as more light is

able to shine through.

Thinking further, I added ex-truded spikes to show the flying away of spores into different directions by the

flow of swift wind.

Top: Basic 3D Pyramid with different offset points and density, customized 3D ‘pyramiad’Bottom: Customized 3D ‘pyramid’ with fixed offset faces border, spikes

Final Panelled Model

Top

Right side

Back

Left side

Front

Orthographic Images

Precedents and Prototype

A space frame is a truss-like rigid structure constructed from interlockign stuts in a geometric pattern and can be used to span large ar-eas. It is strong because of the inherent rigidity of the

triangle

An example of work related to space frame is the Space Frame by Davide Del Guid-ice and Andrea Graziano. It is composed of three di-mensional triangles wtih parametric triangular holes in the interior faces, follow-ing attractor points with larger holes at the top and smaller at the bottom which I employ onto my model to signify density of the spor-

ing.

The panels can be unrolled and realized with lasercut technologies, very much identical to our process. The precision of lasercut can be seen, as the pyramids are

very rigid and exact.

With the simple prototyping excericise, I firstly learnt that cutting straight and scoring the edgs makes a big differ-ence to the aesthetic and

ease of construction.

THE LARGER THE OFFSET BOR-DER FACES, THE BRIGHTER

THE LIGHT

Left: Space Frame by Davide Del Guidice and Andrea Grazi-ano

Middle, Bottom: Pro-totype experiments

Q: How do different media support different kinds of design inquiries and refinement?

With the vast choice of media, the one or many we decide to use effects the form and context, and in turn the design and refinement process we choose to undertake. It is important to experiment and trial and error to make the best decisiosn as choosing the right one to com-

municate our design across to the audience.

During lectures, with guest speakers who introduced their concepts and ideas and their choice of media and the refinement that they

went through emphazes that this relationship.

For the lantern, a 3D shape is very fitting as the form because not only do lights need to be placed inside, but it also allows for students such as ourselves, to be able to easiy refine our designs and experiment. By utilizing Rhino instead of clay as we had first used, it is more effective in terms of time and effort. Different media can support different kinds of desing inquiries and refinement, however, it depends soley on the

designer as to what they are trying to communicate.

Remodelling

From my original model, I needed to change the off-set height because through the testing, it was very dif-ficult and frail. I decided to change the offset borders to 2cm after experiment-ing with different heights. Building the structure would now be easier and less frail. Also, as the offset borders are lower, it would increase the wave-like motion, a gentler flow on the surface, which coincided with my in-itial concept of a wavelike structure representing the dispersing of spores through

wind.

Whilst reviewing my model, I also realized that the spikes at the end weren’t part of my initial concept of a flow-ing form. Instead, it was a very dynamic change from smaller pyramids to giant spikes. Thus, I decided to

get rid of these spikes.

3. FABRICATION

Labelling and Unrolling

I decided to use different colours for each strip to make it quicker to identify each strip. Also used Dot to

label strips.

To make constructing the model more easily, I decid-ed to section my model into

three parts.

Laying out systematically was very important, as this would inadvertedly affect

the buliding process.

Now it was ready to be pre-pared for fablab prepara-

tions.

Final Model Process

1. Cut out panels from fab-lab ivory card sheets us-ing metal ruler and stanley

knife.

2. Assemble and use PVA glue and clippers to hold the tabs from both panels in

place for them to dry.

3. Join strips together into bigger modules.

4. Join modules together

Problems faced:- PVA glue drying too slowly and clipping when too wet- Weak at turning points and collapsing due to pressure- Use of masking tape making it look less aestheti-cally pleasing- Joining confusion

Final Model Process- Rebuild

1. Cut out panels from thick-er ivory card using metal

ruler and stanley knife.

2. Assemble and use super glue on one panel for more

sharing of weight.

3. Build the middle module first by sticking one after the

other for less confusion.

4. Use middle module and use it as a base to connect

the start and end strips.

Problems fixed:- Super glue much faster and fixed- More rigid and the original curve is supported by using thicker card and change of the way of join-ing tabs- No use of masking tape- Easer process

Lighting Experimentation

- 6 white LED lights- one switch- electric tape- wires

I decided to use 6 LED lights so as to get a brighter light-ing than just the 3 provided, Also, it would give a more evenly dispersal of light and allow me to experiment more to create affects that coincided with my concept of spore dispersal, already shown through the offset borders.

Lights dispersed evenly to create a flowing movement of light density as the offset border faces realizes my inital concept of lighting shin-ing through more brightly and with more intensity as the spores flow away.

Precedent The Angelin Lamp:Contemporary light by talented Paris designer, Constance Guisset. It is made of a metallic structure containing a neon and also a few rolls of paper. It allows for the user to creates his own luminous atmos-phere as desired. By changing the density of paper in one spot or the length, it allows for the light to change in warmth and transparency. I find it relates to our project very closely because whilst the com-puter component has been a main focus, I think the lighting is also an important aspect which is why experimenting with lights is essential. From The Angelin Lamp, it is able to clearly show why lighting is im-portant, as it can change the dynamic, mood of the audience and user. Also, the material of paper is much like our project and allows for many choices and variations in this one simple piece of material.

Final Product

Q: How do different kinds of fabrication technolo-gies make

possible as well as constrain what can be con-structed?

As shown through the reading of Gershfield (2005), through the advance-ment of fabrication technologies have made so limitless desings of our imagination to be realized, whether this be card cutters, laser cutters, 3D printers. All these technologies allow for more possibilites than ever before and the numbers keep growing as the technology keeps on advancing. The technology appears as something sci-fi to me when first introduced and was suprising to find out through the readings and lectures that they

have actually been around for awhile.

However, constraints are apparant. One of the main points is money and is not as readily avaible to the public. Creating something big would cost alot and this is not accessible to many. An obvious constraint in our lantern project is the only choices of card cutter and laser cutter. The only way for us to make these lanterns was to convert our 3D shape into 2D panels so they could be processed by these technology we could choose. The need to once again make these ‘flat packs’ is time constraining and stre-nous. If the choice could be made, a 3D printer would be much more

viable.

But compared to a ink printer at home, the use of the card cutter or laser cutter saves time and effort.

4. REFLECTIONModule 1 It was a very fast paced three weeks. Trying to understand new concepts such as patterns, geometry, and ways to analyze infor-mation was confusing but also exciting

I really enjoyed researching and analyzing the process of spore dis-persal in mushrooms because not only was it interesting but it was an eye opener that there are so many intricate details and amaz-ing processes that the naked eye can’t see, introduced during our first lecture.

Whilst, the researching was an important core part of the process, the hardest part for me during module 1 was that it had to be ab-stract and to not represent the idea directly, but rather the ‘rule’ behind it. It was difficult to let go of preconceptions of the process and I believe this hindered my ability to see beyong what was there as I focused more on the end product rather than the process and I kept questioning myself whether it was actually abstract. By going through trials, analyzing precendents and exploring ideas and the readings, I was soon able to understand the concept adn come up with new ideas to create something original.

The main points of the process I wanted to convey through my model was balance and merging of the first step of the process which leads to the flow of the spores. By keeping in mind the char-acteristics of the process, I suprised myself with what I had made because it looked nothing to what I had imagined at the begin-ning.

I was also pessimistic towards Rhino, because I enjoy freehand, but soon realizd the many new potentials (but also limitations) in using technology, such as the amazing models made by Henry Seger-man.

Module 2By the end of this module, I could already see the large differ-ence between designing with analogue and digital techniques.

One thing that stood out was the ease of experimenting and iter-ating quickly and accurately using the computer program. It was a matter of copying and pasting, trying out different commands that were already all inbuilt with a few clicks of the button. It’s obvious with why there is a shift towards the parametric design in architecture; the consistency, ease, effectiveness, cost and time.

However, I still found that using a computer program felt unnatu-ral, that there wasn’t as much spontantiy and free flow as I would like. This may have been due to my lack of ability but I felt that analogue techniques gave much more freedom to designing and the random sketches in notebooks which can prove to be the most useful and creative.

There was a lot of choice with the computer program, and it was able to give a much more realistic view of the model, to be able to see the structure and function all on one screen and instead of construction at the end of designing, it was very much the same process when using the software.

I had to refine my model many times to get it looking how I want-ed it to. However, through Module 3, Rhino use was much more easier and felt accessible when I needed to reiterate some parts, and making it into a fablab file. I think that as I used Rhino more and more, it grew on me as something I required and could make the most out of for my design.

Module 3 Module 3 was the toughest. Not only did it require a lot of time, but also effort and concentration, and this was especially hard as we had to work to a time limit.

It was a clear process of testing, doing it again, retest-ing and so on. Whilst this is the best method for achiev-ing the best result, it would have been better with more time given. However, as in the real world, not only do architects and designers have to work to constraining time scedules but in any profession.

Even though the 3D computerized designs on the screen appear to be functioning, I felt that there were many unexpected differences from on screen to real life. The material, construction process, precision of the machine or whether the construction will actually work in real life. I still find that the designer gets to choose what goes on the model and what gets left out and discarded, however, as said in the Week 10 lecture, sometimes the final product can exceed the design.

The stresses of it having so many panels to unroll and fold, problems with the fablab really got to me and I was wondering if I would ever have a final product. I think with only the sheer determination to remake my model to the best it could be and to my ability really paid off in the end as I walked down the fashion pa-rade knowing I had done my best and proud of what I was presenting.

How do representations and their ma-terial realisations (or insights) may be

mutually dependent ?

The reperesentation is solely dependant on everything that has been used, refined, and chosen throughout the whole design process. This has been drilled into us in tuto-rials and lectures, the reason as to why we must critically assess our choices, and linking it to our representations.

With regards to our project, over the whole course, we’ve been faced with various choices and split paths. We could’ve made our lanterns out of anything, wood, or brick but were constrained to card. Even though this sounded like a definite representation on card, we had the choice of black or white, or both, the thickness, the flexibility, the way it is cut and put together. By consider-ing all these aspects into the design, it is obvious that we have to make sound judgement as to the material used

for the representations.

What are the learning outcomes of this subject and its relevance to your further

studies and future?

This subject has been both stressful but very rewarding. This subject has given me a taste of what it is to be a designer- the heartaches, the headaches, the fustration, the sleepless nights, the stress, the times I just want to cry but then the joy, the appreciation, the suprise, the satisfaction that the whole

process and final product brings.

I think the focus of this subject is to learn the skills and frame mind to be able to focus on the process of the design rather than the final product, and not to follow a linear path.. Instead, to be a sponge and asborb all sorts of knowledge around us, finding ideas and following them whether this may lead to fail-ure of success, the ability to justify choices we make whether this be the idea or material and how to communicate or ideas and represenations. Also, it introduced to us the idea of us-ing technology as a means of design, and this has been eye opening because I am no longer wary or afraid of learning

new technological skills to further my designs.

As I aim to be an innovative architect in the future, I’ve come to reflect on this process throughout Module 4, I’ve grown to really appreciate all these new skills as they are necessary in

design related fields and ready to be used in the future.