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Module II

Claire Gabriel 584657 Semester Two Group 4


Bellow: The three natural process I explored were the coral gorwth process (figure 1) water diffusion (figure 2) and DNA (figure 3).

Left: At the conclusion of module one after much research my final concept is DNA. I deviced a model that interpreted the spliting of a strand of DNA. I reperesented this natural process visually. This idea effectively communicates the splitting of the DNA incorporating paneling created in coral growth process idea.The design rapped around the users arm like a DNA strand and then opens up at the top.

Summary Module One


At the end of module one I was still not satisfied with my design. I felt the design was being overpowered with literal communication of DNA. I decided to reevualte my design and rethink the abstraction of the concept. Bellow Are skeches and models of a more abstarct form with out panneling inclusion it is still much like the orginal design. I reconsider how I was interpreting the concept of DNA and how I could bring out the underlining concept more rather than just produce a physical representation of the process. Putting the design on Rhino was always in the back of my mind and this I felt limited the designs possibilities.

Above Is the refined model. The design was refined to be more supportive by looping around the neck. This is the design I’ll put through Rhino, it does not include panneling. The finished design would have life the module one design big spikes at top and smaller at the bottom. I feel this design absracts the replcation of DNA in a non literal way is more effective.

Revaluation Model Design


Top View Right Side View

Front View

Left Side View

Scale1:5

Using clay I made a 3D model of my design at a scale of 1:5. This was used as starting point for the process and transition from clay model to virtual model.

Contoured PhysicalClayModel Modeling


Above My model at 1:5 scale with contour lines at 1cm intervals. Bellow: The model cut into sectional slices

Examining my model I considered the best way to digistise the design. I decided to use cross sectional disection (contouring) combined with orothgramic referencing to digitise my model. To prepare my model I began by taking a set of orphagramic images seen on the previous page to use as reference for my contours. To allow me to capture my model in Rhino’s 3D modeling. I then drew contours at 1cm intervals onto my clay model.

Digitising Model Preperation


Moving into Rhino I began by tracing my contours from the birds eye image I had taken of them. The difficulty arroose that I could not place a centre point because of the curved shape of my design. I also realised the contours were not flat shapes but actually formed a curve. Once I had traced the contours I set up a box reference and begun to map the contours to these references. Left The first loft of my contours. You can see the basic form is evident although it is not a exact replicaur. It is a good intial design given my knowledge of Rhino for future development. Rightt: Using orthographic images as reference.

The orthographic images provided reference for the contours. This helped me to more correctly place the contours, in the correct angles to the model. When I first lofted the shape many errors showed up. I think what would have helped were better reference pictures taken from a more extact angle. In the end after a battle with Rhino I had to compromise on the intergrtiy and simialrity to the orginal model. This comprising for Rhino has been a continupus theme so far through module two.

Digitising Contour Mapping


Refinement

To the polish the model I played around with surface smoothing out creases and making modifcations to make clearer final form. After Rebuilding and lofting the model a couple more times I was resonable happy with the final result. I feel the digitised model is a good representation of my orginal deisgn.

Final Form

Bellow: Final model with grid points

Digital Model Final Form


The Making of the proto type model allowed me to explore the model as a hollow 3D model. To create the model I used a light piece of wire to attempt to create the twisting motion of my design. Using an internal skeleton might need to be considered moving into module 3.

Above: After constructing it was hard for the model to sit around my neck. I was not able to curve the materials so I am hoping when I come to create my design that it will sit on my body with more ease.

Bellow: Interactions of the light through the rings of my intial proto type. The shadows the design creates can me just as spectacular and the light peering out the shape.

I then began to text how light passed through my proto types rings and the effects this created and how this will effect my choice of panneling. In the intial stage I noticed the importance of light placment in order to gain most asethtic quality. From this I have realised I will need mutiple scattered lights for my final result.

ProtoType Construction and Lighting


Basic 2D Tri Basic Paneling

Basic 2D Triangular Paneling

Basic 2D Angled Box Paneling

Basic 2D Tri Basic Paneling

Above: I began experimenting with how I could use panneling to enhance my work and to bring out my orginal panneling design. To begin with I looked at basic 2D panneling forms (above). I experimented with a variety of denisties and paneling some of the more interesting ones are above. I think that Tri basic paneling is most successful of the these .

Paneling Tools 2D Experimentation


“The mission of the Adobe Museum of Digital Media is to showcase and preserve groundbreaking digital work and expert commentary to illustrate how digital media shapes and impacts today’s society”. -Lidija Grozdanic

Designed by Italian architect Filippo Innocenti, who speacilises in fluid urban designs and digital designs. Innocenti’s Adobe Museum of Digital Media is entierly digital. Designed without concerns such as bidget or enviormental forces, the design if built would span over 620, 000 square feet.

Bellow and Left: The museum’s central twisted towersare variably paneled. These panels gradually gradually become more open as height increases, allowing for more light to enter and leave the structure.

The concept of this design facinates me. The base structures resembllesa nest of swirled ribbons, this design is simialr to my design the way the DNA climbs up the arm. But what most interests me in the way light interacts with the design. As mentioned to the left as the the pannels grow higher they gradually let more light in panneling like this would be dynamic with the LED light on my own model

Adobe Museum of Digital Media Precedent


Left: The museum’s central twisted towersare variably paneled. These panels gradually gradually become more open as height increases, allowing for more light to enter and leave the structure.

In 2010, the Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) designed and constructed a temporary research pavilion. The innovative structure demonstrates the latest developments in material-oriented computational design, simulation, and production processes in architecture. The result is a bending-active structure made entirely of extremely thin, elastically-bent plywood strips. Material computes. Any material construct can be considered as resulting from a system of internal and external pressures and constraints. Its physical form is determined by these pressures. However, in architecture, digital design processes are rarely able to reflect these intricate relations. Whereas in the physical world material form is always inseparably connected to external forces, in the virtual processes of computational design form and force are usually treated as separate entities, as they are divided into processes of geometric form generation and subsequent simu-

“The ICD/ITKE Research Pavilion aimed at further developing this unsung lineage of bending-active structures, exploring their architectural potential through contemporary means of computational design, engineering simulation and robotic manufacturing�. - Fleischmann, Knippers, Lienhard, Menges and Schleicher

ICD/ITKE Research Pavilion Precedent


Basic 3D Box Paneling with Fin Edges

Continuing my experimentation with panelling tools I began to look at 3D panelling. However, I didn’t find this three dimensional panelling worked as well as the 2D panelling. I think this was because of the increase in complexity of the 3D panelling, and given that my form is already quite complex, I found that the 3D panelling detracted from the form itself. Having said that, I did like the effect created by the finned edges and would be interested to see light reacts as it pass through it.

Basic 3D Wedge Paneling

Paneling Tools 3D Experimentation


Paneling Tools

Custom Experimentation


Above: Figure 1 Carson white 120gsm the light quite easiliy comes through this paper. Figure 2 is of black 120 gsm paper- the paper is thick and the light does not come through it. Figure 3 is 200gsm black the light patterns the folding it creates is very interesting, no light appears from inside due to the thickness of the paper. I looked at many different pieces by David Tunbridge incoperating light patterens and was inspired by many one piece that particular caught my eye was his Coral Light (right). The light has a simialr idea to my coral concept I reviewed in modual one. Left inspired from Tunbridges works I began to look at how light interacts with different types of paper. I realised that there is certian way you can predict how light will interact with the paper. I began exploaring different colours and thicknesses of paper in order to gage which paper would be best suited for my design. I think at this point the white 120gsm would be best as the light inside can be seen and it still creates shadows. However I think I would like to try a thicker version perhaps a 300GSM to test how the light interacts.

Above: David Tunbridges Coral Light

Prototype Lighting Experimentation


Overall

I am happy with my design I think it is a successful representation of my orginal model. Bellwo are orphogramic images from each angle of the final design at 1:5 scale.

Front view

Top view

Left side view

Right side view

Scale 1:5

Final Design Orphogramic Drawings


“A new digital continuum, a direct link from design to construction is established through digital technologies.� - Branko Kolarevic

It has been said that the 21st Century is the digital era. This module has allowed me to explore this new age trend. I believe that digital media in design is not a replacement of tradional methods rather its in a exapansion. The Adobe Museum of Digital Media one of my precedents is an example of the power digital media. The building and design is enitirley digital and is accessed through the internet but still acts as a traditional museum. The archiect Flipo Inoceti explored ideas such as rooms with out gravity is this the future of archiectue? The end result was more grounded but still explores the possibility of a structure that does not face a budget or enviormental issues. I was inspired by this design because of its panneling but it inspired me a whole lot more. The first reading by Schuer and Stehiling explored the need for mathmatics in archiectural practice. The reading introduced me to new concepts abstraction and reduction. Abstraction is about priducing a model that contains and idea with little effort. In contrast to abstraction reduction is not about reducing but about finding otimal way to communicate and idea. The second reading by five archiects reviewed material behaviour in the design process. It was a very useful reading in module two. I explored one of the ICD/ITKE Research Pavilion further as a precedent. Its panneling provided much insperation for the paneling of my design. The week five lecture was about phisilofical designs, and the use of precedent and how precdents should inspire our new designs not dictate. The week 6 lecture was about pattern in archiectual design presented by Paul Loh and was a ontinuation of the reading by Phillip Ball.

Personal Reflection My experience of the module and the new digital media of Rhino has had endless complaications. I have found Rhino limiting on the construction of my design. Despite these complications I have enjoyed ammense satifaction that I have battled Rhino, which was one of greatest fears at the compenment of this subject. For the next module I must be careful that I do not makedecisions purely based on what looks best but rememberall the conceptual groundingunderpinning each design.

Above: ICD/ ITKE Research Pavilion

Reflection

Moving Forward


Texts: Fleischmann, M., Knippers, J., Lienhard, J., Menges, A., and Schleicher, S. (2012): Mateial Behaviour: Embedding Physical Properties in Computational Design Processes, D: Architectural Design, Wiley, 82 (2), March, pp. 44-51. Scheurer, F. and Stehling, H. (2011): Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 (4), July, pp. 70-79. Images: Page 1 - Emin, T 1998, Brain Coral, viewed 12 August 2012, <http://www.saatchi-gallery.co.uk/artists/artpages/.htm>. Cook, I 2004, Starlet Coral, viewed 1st August 2012, <www.greatbarrierreef.com.au> Page 9 - Fleischmann, M., Knippers, J., Lienhard, J., Menges, A., and Schleicher, S. (2012): Mateial Behaviour: Embedding Physical Properties in Computational Design Processes, D: Architectural Design, Wiley, 82 (2), March, pp. 44-51. Page 10 - Adobe Art Museum, Adobe Digital, viewed 7th of September 2012, adobe http://www.thefwa. com/site/adobe-museum-of-digital-media All other images students own photography, sketches and models.

References



Module Two Final