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Module 2 - Design

Christian Paul Student Number 376 591 Semester 2/2012 Group 9

Originally my aim was to use the photos to redraw the contours of my model into Rhino, then use the curve from 2 viewes function to create a 3D shape. The problem with this being that, while in ideation my model was actually symetrical, in the physical world it was far from it. So while drawing these contours, which could then be used to draw cross sectional circles which could eventually be lofted, was easy enough, it was ultimately not very efficient nor useful.

Afterwards, I tried simply drawing one contour, and then duplicating and rotating it, to create four “sides� from which I could once again measure concentric circles to be lofted. This worked, but there was a much easier and cleaner way of doing it, so I turned to other methods of 3D modelling that better suited my particular design.

Digitising - Contours

The revolve command in RHINO was almost perfectly suited to my particular model. By simply drawing the contour of a single side of the model, and then defining an axis of rotation, I was able to achieve a perfectly symmetrical surface about both the x and y axes. Which suited me perfectly.

However, after a long discussion with Loren, I felt that while I was on track in terms of digitising methods (in this area at least) my actual model design needed a drastic change to better reflect my original natural process. Really this was quite easy in RHINO. Since I was already using the revolve command, dramatically changing the shape only entailed altering the single curve which was to be rotated about an axis to create the surface.

Digitising - Revolve




Digitising – New Model

Seeing as my surface is made up of three distinct sections, I chose to only very slightly distort each section individually, which was achieved by using the RHINO function Split at Isocurve, which allowed me to effectively slice my surface evenly. I then used the control points to stretch the bowl sections slightly, while ensuring that the openings on each section were not affected.

Digitising – Distortion

Panelling – Ideas

The calm section, where the water flows neatly and in order, all towards the same point, often in streams.

These mountainous ridges tend to show linearity and order

Panelling – Top Section

Panelling – Top Section

I then created a custom flat panel, although used the 3D panel tool to ensure I got solid faces which allowed the light pass through in every direction, while still retaining some formation. I used the 3D tool for the simple reason that, whenever I tried to use the 2D tool, RHINO only provided a wireframe panelling, never a surface.

Panelling – Middle Section

Panelling – Middle Section

This section was actually the easiest. All I wanted to do was find a way to release the maximum amount of light in every direction. The Ribbing with Notches tutorial seemed perfect here, as this method practically eliminates surface area, thus maximising light output while still maintaining the overall shape.

Panelling – Bottom Section

Panelling – Bottom Section

Final Panellised Digital Model

A simple mountain range was the inspiration for one of the sets of panels that I used in my digital model. The panels in the first section ressemble mountains which are basically assembled in a line, which seems to represent order and fluidity, while also being quite unmoving and sturdy.

Precedents for Panelling

From Analogue to Digital The transition is far from fluid or seamless, and short of purposely, analogously designing something with the intent (and therefore restriction) of digitally transforming it, it is nigh on impossible to create a perfect digital replica, at least with the mediums at hand. Although in moving into the digital world, limitless possibilities open up on the level of design. While its true that we sacrifice a physical three-dimensional outlook, the capabilities of alterations and enhancements is phenomenal. Is it worth it though? While the abilities of a computer in this field are practically infinite, a certain finesse and attention to detail can be lost. The “personal touch� becomes hidden behind vectors and functions. A sizeable sacrifice, although possibly worth it in exchange for the potential that the digital medium grants.

Critical Analysis

Module 2 - Design  

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