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Module 4 Final Submission Amaya de Silva 583889 Semester 1/2012 Virtual Environments


Â

P h a s e 1 Ideation


Below: Three forms of a splash. A

bomb,

a

belly

flop

and

dive, each which gives a distinct pattern and individuality.

Â

A splash begins with a single object. It ends with an explosion of energy and liquid. This

process

plored

using

of the

ejaculation geometry

from of

a a

point splash.

of The

stillness idea

is that

what a

defines single

this

idea

explosion

of

can

a

splash.

create

And

thousands

thus of

was

ex-

geometry.

From a single moment of an object entering the still liquid, whether it be a bomb, a belly flop or a clean dive, the

geometry

of

the

splash

both

above

and

below

the

water

is

spectacular.

Above

the

water

is

an

the

crea-

tion of a new dimension of the body of existing still water. And looking below the water is an extension of the initial dive.


Below: The relationship between both the splash and the idea of an explosion. As the object hits the liquid, there is

an

outward

explosion

from

a

single

point

of

origin.

Â

Left: The action of a splash above and

below

etry

of

the

the

liquid.

splash

as

The it

geom-

explodes.

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From the literal idea of a splash (right)

To an explosion (left), and the above and below idea of a splash (below) Â

Â

From the first few stages of modelling, there was a an ambiguous discussion as to literal nature of the natural process. After this was defined to more extent, a circumscription as to what the tutors were looking for was found. This enabled a more specific but subtle illustration of the natural process. When this was not defined it was difficult to specify the concept of being above and below the water. Through this definition of the context of the natural process, it was possible to model the splash easily.

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Reflection Module 1 is the most crucial module in the entire project as it provides the basis as well as the means to continue on with the chosen natural process. With my chosen natural process of a splash, I wanted to explore this idea further as a geometry. Below, in the design of a structure inspired by a splash, shows the unnatural geometry of a splash. Through this module, I was able to learn that there is more to the idea of a form

In the reading, Ball says that “a pattern is a form in which particular

feature occurs recognisably and regularly.” and I found this extremely interesting as it addresses the idea that there is a functionality to each object and what we expect from each form. For example, a chair is used to sit on, but it can also be used a form of art and display.

than what is first thought. It is harder to

Ball

think of an idea, than to pursue it. From

also

ryday

Module 1 I was taught that without a un-

life,

looked and

at

the

how

idea if

of

mathematics

everything

is

in

eve-

mathematical-

ly defined, how do we create or design anything at all.

derstanding of the idea behind a natu-

As shown in the diagram below, there is a mathematical relation-

ral process is difficult to understand the

ship to each form, with a shell for example being so perfectly ma-

geometries of it. The lectures in the first

terialised as a logarithmic spiral as a naturally occurring process.

2 weeks of this subject were the fundamental spores of information to get us on our way to creating a lantern from a natural process. Bharat’s advice about keeping your eyes wide open and your imagination wild, helped me immensely to explore the process of a splash.

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P h a s e 2 Design


Refinement of an idea is predominantly a characteristic of the tools used to model the form. By using tools within Rhino, the model was refined to the extent that it was possible to model

the

Inquiring el

this

natural

process

the

relationship

natural

process

easily

while

between allows

us

still

keeping

the

different

the

individually

define

to

the

authenticity forms the

of

of

the

media

purpose

for

natural

process.

used

to

mod-

each

of

them. Above: Modelling the clay model on Rhino. It was a lot smoother than anticipated.

2D panelling was prefered over 3D panelling

Panelling experimentation - 2D

Creation of a design always has to come back to the underlying idea that there is always a context and purpose to the form.

The idea behind using the above 2D panelling for fabrication was because of it’s triangular geometry and

the effect of the little triangles trough the centre , and thus towards the ends of the model. It was basically an easy was to portray the idea that a splash extends outwards form a single origin point. Using offset borders, I was able to manipulate the sizes of each of the triangular holes to make the splash appear as if it was extending. This idea was however changed later once advice from Loren suggesting that there should be more “oomph� in the design, as it is about a splash, and not a stationary object.

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Panelling experimentation - 3D

Many attempts were made at creating and designing a panelling system that would be related to the natural process of a splash. In many of the attempts, there were times, where the design may have looked aesthetically pleasing but did not satisfy my efforts at relating the explosion theme to the model. From the simple 3D panels that were given by Rhino to some 3D custom panelling, there were many options that I had in choosing a 3D panelling system for me to fabricate. However, there was an issue with the idea that my concept of “splash� would not give off the effect I anticipated. And therefore, I decided to keep it to just 2D panelling and play with the effects of lighting instead. This was however later rejected as being too soft, and changed in Modules 3 and 4 .

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Panelling Experimentation - 3D Custom

Above: Other 3D panelling ideas were also taken into account, but as discussed earlier, dismissed for not having the effect I was looking for.

Ribbing

Left: Ribbing was also attempted but it seemed too weak to fabricate, and did not satisfy my criteria of being a splash.

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The second reading for this module was the most in-

Right: Skyhook Design

teresting, Dahan-Dalmedico was able to draw together the concept of mathematics and creation in one. From the lectures, we were able to draw conclusions as to how much of the world we actually crease and how much is mathematically created. What is human, and what is made by a computer. Space was also discussed and this relates to the Module 1 readings of how to define context and

Left: British Museum, graph of spatial ratio of people

form, and their relationship. Geometrically, there are thousands of possibilities to each design but practically there is more to the design as it must somehow fit the context and purpose of the form. I attempted to use this in my design, but it ended up being just more organised than messy at all. This was a large flaw in my plan to create a natural pro-

In the lectures of Module 2, we were able to see the design in

cess of a splash lantern, and if doe again, would be

the real world. We were able to witness design of a lighting sys-

changed completely to incorporate the idea of “un-

tem by Earl Pinto being fabricated, modified, and eventually sold.

organised beauty”. Skyhook design’s explosion, on

It gave quite a lot of inspiration to me to understand that for some-

the right, shows the messiness of a form, but show’s it

one learning architecture, there is potential to move into various fields.

regularity and order in an extremely abstract way.

From the second lecture we were shown the idea of patterns and spa-

I

tial dimensions in the real world and how to model them. Using multiple a

ed to explore this same concept in my model.

particularly

weather map, or the plan of a house, a model can be created that re-

found

this

interesting

as

I

want-

Messy and irregular with a hint of order

lates to human activity, cloud cover etc. This was inspiring as it let me realise that there is more than just finding a literal interpretation of a natural process. The Eureka pavilion was just amazing in it design, construction and Paul and his team’s ability to work around the problems they faced.

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Reflection Module 2 was the beginning of the extension of the design that we begun in Module 1. Through the skills that we learnt in being able to analyse thoroughly in Module 1 we were able to create a model in Rhino that would be symbolic and representative of our natural process. In this module I was taught to keep experimenting and persisting at searching for what you are looking for as you will not be happy with something you don’t want. I also realised that I should have done something more risky early on (in this Module) and used more experimental 3D custom panelling, to create a more “splash� like look. It would help the final model to become a more vibrant model and actually get up to the standards of others in the tutorial and in Virtual Environments. Due to the very safe playing of my model, it seemed very plain and boring in Module 4 even after 3D panelling was added to the model. When deciding which panelling to use, it difficult to understand what the tutors were looking for. From what angle did they want us to approach this, an abstract, risky way, or a logical, safe way. It was this that made my decision about 3D panelling go to waste, and why I used only 2D panelling for the first prototype. If I has more of an idea about what I should be doing, there would more high of a chance that it would have experimented with more abstract designs. If we had also given more direction in the use of Rhino and the way to make more complicated designs , with out having to spend hours attempting to discover Rhino tools for ourselves, I know that I personally would be more likely to have a larger, more complicated panelling system.


P h a s e 3 Fabrication


Left: Model after being morphed Below: First prototype model on Rhino

Modelling a splash, both in the digital and real worlds Going back to Module 2 after elaborative advice on the purpose of the initial model, iterations were undertaken to change the deign of the model on Rhino. Cage edits and control points were used to individually control area of the model. After the advice, more conceptual elements of the model were decided upon. For example, ing to move away from the natural process,

more care was taken in the modelling of

as I was tend-

the splash the second time

around. Thus, the model was turned upright to imitate the idea that there is a splash both below and above the water.

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The fabrication of this model, firstly comes from the digitalization of the model on Rhino. Using a colour coding system to divide up each of the groups of elements of the model enabled me to assemble the model from card easily. Starting from the bottom of the model a systematical method of colour coding was used to go up the model and use one strip at a time until the middle was reached, at which point a different method was used. For the top half of the model, a completely different method was used; a “clump� of panels were connected together, as there were three of the same shape that went around the whole model.

Grasshopper was used to make the tabs for the model after it was unrolled. This made it a lot quicker and easier, instead of individually creating each of the tabs. The program was easy to use and very efficient. Once nested it was also easy to remove unwanted tabs.

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With everything set out and organised, a clear goal and plan was set to put the model together. The nesting tutorials and exercises were crucial to the development of the project as it provided the necessary skills to submit the file to Fab Lab. With the Fab lab, there were some issues relating to the rips in some of he model and also the time-frame at which we had to

submit the file. There were some limitations that were found once commencing the construction of the model. The materials used for the back of the panels included acetate, plastic, tracing paper and a paper bag. While the initial idea of putting a panel on the back of each hole was good, once materialised it was very difficult to fabricate. It was very fiddly when attempting to cut each of the very small panels and sticking each of them onto the already thin cardboard. Due to the heaviness of the plastic, it was difficult to stick on the cardboard and produced sagging in the panels.

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Material limitations- Card cutter tear Design limitations - Being able to see elements of model meant to be hidden

Material limitations - weakness in joints

The first photo on the left, illustrates the fact that there was an issue seeing elements of the model that was

Each material has a limitation, a barrier that makes you question it’s purpose.

supposed to be concealed from sight. This created issues as it was not aesthetically pleasing, and was very difficult to conceal anyway, while still leaving enough room for the lighting. The lighting in this first prototype was also very unjustified and messy. It didn’t provide the effect I was looking for and was held back even further by the fact that the see-through paper on the back of the panels did not let enough light through. On the photo above to the right,it is evident that there is a weakness in the joints at the point where the two halves meet together. This is due to the thin cardboard layer that is very loosely stuck to the single panel. Overall the first design needed a lot of changing before the final model was presented.

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Vesak lanterns The C4 facade is a design that is supposed to spread from a single point of origin to become less obvious. I attempted to use this idea of transparent lighting. This building shows that through the use of lights a gradual decrease in the effect of the lighting from the origin. Vesak lanterns are used in the Buddhist religion as a sacred referral to Buddha’s birthday. Each of these lights use very thin tracing paper, to allow light to pass through it easily and effectively. The use of the material in my lantern, the tracing paper bag, acetate and plastic were all used to somehow allow different amounts of light out. By allowing different amounts of lights out that differ from one area of the lantern to another allows a story to be told. It essentially gives rise to the idea that it is not just the materials used to create the lantern, but what is used to supplement it, the lighting and the backs of panels, also provides some design perspectives.

While this

idea was almost completely removed for the final model, there was some elements of this that was kept. This idea that there is a gradual change from the middle of the model to the ends, was kept, by the use of the gradually expanding triangles, which meant the lighting gave very different angles to each of the triangles. The 3D panels were also larger towards the top and bottom of the model.

Right: C4 facade by Niento Sobejano

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Reflection Throughout this particular module, there were a few decisions that had to be made, that would basically make or break the Final model. The first decision was whether or not the model will be held by hand,

Fabrication of our model was dependant on

worn or kept on the ground. With this decided it was easier to decide

the limitations and constraints that we had. We

on the panelling again and confirm that. It also made it possible to de-

were only allowed to use Ivory, black or mount

cide what kind of card you wanted to use. I used Ivory card because it

board card, and this meant that we had to

seemed the most practical. I didn’t want to use black card as I do not

think about the overall impact of the lantern.

believe that a splash is a particularly dark process. In hindsight, I now real-

The construction of the model was impacted

ise that I should have experimented with using both white and black card

by the ability for certain card to fold well, or

to emphasize the irregularity of a splash and to give it more excitement.

not leave burnt marks by the fab lab laser cut-

The second design decision that had to be made was organising

ter. When we are given the opportunity to take

fab lab submission, which caused dilemmas for many people in re-

risks and experiment with the supplies of fabri-

gard to getting it back, and machine issues. However, once sent in,

cation techniques we have available, the most

it was finished. To get it into the fab lab, the weight of the card also

should be made to try to use each one and

had to be decided and for the first prototype, I went with the given

find the flaws and qualities of each material.

weight of 220gsm. For the final model, 300gsm Ivory card was used.

Using different weights of card also enables

For the submission, to test out the thickness of Mount board, I also sent in a

less light to get through, but provides more

file using mount board. Once receiving it I realised how thick and dens it was

stability and strength to the model. All of these

and that it would not provide the flexibility to mould the model to the way

technologies can either restrict or allow us to

I wanted and thus was discarded. The lighting was the final crucial deci-

continue the design as planned or change it

sion. The use of the lighting was obviously due to the context of the lantern.

to fit the criteria. For example, the card was

The individual’s use of the lantern however, varied from project to project as it

kept white, because the black would not al-

depended on the effect that the person was looking for. Using the inspiration

low as much light through. Two light were

I received from the precedent of the C4 facade, I was fond of the idea of light

used in my model to provide the amount of

dispersing from a point, just as a splash does both above and below the water.

light I wanted to get. If needed I would have used more than one, but there was need to as this would be too bright, and the dispersion of the light would not be as significant.

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P h a s e 4 Reflection


After even more elaboration from Loren’s advice about the material limitations of my first prototype, a completely new model was made. This incorporated Loren’s criticism that there needs to be 3D panelling to really give the model the effect of being a “splash”. And due to this, 3D panelling was added to the top and bottom of the model, to show that there is a slight difference in the

Through this last module, I learnt what I should

splash both below and above the water, but it is all

have learnt at the beginning of Module 3. And

generally defined in the same geometric design.

this was that I should have taken more risks in the

The construction of this final model was a lot easier

design of my panelling, while still relating back

than the prototype as it was less fiddly and I used

to the natural process of a splash. By the end of

300gsm ivory card. This was a clearly a lot strong-

the Module I found that my final model design

er, and while it was sometimes difficult to fold,

was very simple compared to that of other, and

provided the perfect stability for the final model.

it was due to the worry that I had about mak-

The lights were installed using a simple circuit

ing my model overly complicated. While Loren

of two LED’s, two batteries, a switch (that con-

had previously asked me at the end of Module 3

nected to the outside) and was all hidden and

(for my prototype) to make it more complicated

taped to the inside of the model (the centre

with some 3D panelling, I did not follow her ad-

area, which was designed for this purpose).

vice as well as I now realise I should have. I should have elaborated on the splash idea on my model, making it more vibrant and sophisticated. The

final

readings

for

Virtual

environments

consisted of one reading that addressed the virtual world,and this cam back to the rea-

The geometry of a splash was defined vaguely

son why we are studying virtual environment. It used the idea of avatars and

media to

show that there is just as much importance in the virtual world as there is to the real world.

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Reflection: Module 4 is the final module. It is the module in which all out lessons have been learnt and the final submission must be submitted. It is the time of the semester where all our work is complete and all we have learnt has to be reflected upon. But in this Module, we must also analyse each of our actions as an outcome of the final model, the lantern. It is how we have represented out final model, with it’s and how the world perceive it that we must be vary of when presenting our lantern. From the idea and creations that we have pursues over the course of Virtual environments we take this into the real world. To be mutually dependent is to be constantly in need of the other half. In this case, how we have represented our form, and how it has turned out after fabrication and construction is what makes the lantern so difficult. The question is raised for each project, did your idea turn out the way you wanted? For me, It did not. I initially anticipated a more vibrant form that would be a more literal shape of a splash, that would somehow replicate its messy and irregular structure. In the end however, the final model, was quite tame and unjustified. These two processes must work together to ensure that there is an contrast in the nature of representations and insights and allow the human to create and design something in the virtual world that can be translated into the material world without any limitations.

From this entire semester of work, I have learnt what could not have been learnt or taught in any other subject. It is such a unique subject that without the freedom that we had in all our decisions, this would be just another subject. The fact that we were new to Rhino meant that we had to try very hard to dodge the learning curve and go straight to what we needed to know to get the job done. I am thinking of studying architecture in the future, as I had been since I was about 10, but after this subject, I began to judge my decisions as a ten-year-old. I began to worry that if this is what architecture is, I will struggle with the abstractness for my whole career. And in the first tutorial, when Lyle asked everyone what we wanted to major in, a majority of us said architecture and he said don’t be too sure, because a lot of people end up changing. So in regards to further study in this subject, yea there may be areas where I may struggle in, but I now understand what this subject is about. With more guidance in this subject through the lectures and tutorials, I may have been able to grasp this concept earlier on in the course. Without this understanding, it is difficult to say the extent of relevance of this subject to my studies in the future. The programs that we were able to learn, Rhino, grasshopper, InDesign, Illustrator, Photoshop, were crucial to the outcome of the final model. And this will be eternally invaluable no matter what career we choose to pursue. I know for a fact that all of these programs will be necessary in the future, if wanting to continue with architecture as a major. The other reason that there may have been an issue with my learning cure in this subject is because this was veery new and a sudden jump into a very complicated subject from no experience with design previously. From my school, we had no design subjects, the closest being Art or Textiles. And this meant that I couldn’t perform in this subject to my true potential, possibly. I hope that if given this subject again I would be able to do exactly what I wanted, with a natural process that I would was sure of, and a Rhino model that would correctly model my natural process, with 3D or 2D panelling that could be compared with to others. While I am proud of my efforts in this semester of work, I am certain that with persistence, I would be able to produce more formidable work, Throughout the learning of this subject, I have learnt more than I learn tin any other subject and I am grateful for this experience.

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Module 4 final submission 583889  

module 4 final submission

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