Claire Gabriel 584657 Semester Two Group 4
Bellow: The three natural process I explored were the coral growth 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 decided a model that interpreted the splitting of a strand of DNA. I represented 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 reevaluate my design and rethink the abstraction of the concept. Bellow Are sketches and models of a more abstract form with out paneling inclusion it is still much like the original 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 Iâ€™ll put through Rhino, it does not include paneling. The finished design would have life the module one design big spikes at top and smaller at the bottom. I feel this design abstract the replication of DNA in a non literal way is more effective.
Revaluation Model Design
Top View Right Side View
Left Side View
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 digitize the design. I decided to use cross sectional dissection (contouring) combined with orthographic referencing to digitize my model. To prepare my model I began by taking a set of orthographic images seen on the previous page to use as reference for my contours. To allow me to capture my model in Rhinoâ€™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 arose that I could not place a center point because of the curved shape of my design. I also realized 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 replica. It is a good initial 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 exact angle. In the end after a battle with Rhino I had to compromise on the integrity and simialrity to the original model. This comprising for Rhino has been a continuous theme so far through module two.
Digitising Contour Mapping
To the polish the model I played around with surface smoothing out creases and making modifications to make clearer final form. After Rebuilding and lofting the model a couple more times I was reasonable happy with the final result. I feel the digitized model is a good representation of my original design.
Bellow: Final model in a set of orthographic images.
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 initial 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 paneling. In the initial stage I noticed the importance of light placement in order to gain most aesthetic quality. From this I have realized I will need multiple scattered lights for my final result.
ProtoType Construction and Lighting
Basic 2D Tri Basic Paneling
Basic 2D Triangular Paneling
Basic 2D Box Panneling
Basic 2D Angled Box Paneling
Above: I began experimenting with how I could use paneling to enhance my work and to bring out my original paneling design. To begin with I looked at basic 2D paneling forms (above). I experimented with a variety of densities and paneling some of the more interesting ones are above. I think that Tri basic paneling is most successful of the these .
Panelling 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 specializes in fluid urban designs and digital designs. Innocenti’s Adobe Museum of Digital Media is entirely digital. Designed without concerns such as budget or environmental forces, the design if built would span over 620, 000 square feet.
Bellow and Left: The museum’s central twisted towers are variably paneled. These panels gradually become more open as height increases, allowing for more light to enter and leave the structure.
The concept of this design fascinates me. The base structures resemblance nest of swirled ribbons, this design is similar 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 panels grow higher they gradually let more light in Paneling 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 result is a bending-active structure made entirely of extremely thin, elastically-bent plywood strips. I took inspiration from how the design which was featured in our reading firstly plays with light through paneling and secondly creates a visually stimulating design because of this paneling.
“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
Basic 3D Wedge Paneling
I looked at many different 3D paneling tools. However I found this stage very changleing and was not as successful visually as the 2D paneling. It was changling because of the increased complexity and issues woud arise at the curve of my design. Visualy it was to complex and most 3d designs did not work. Above are 2 designs that did work on the curve part of the design.
Paneling Tools 3D Experimentation
Above: Figure 1 Carson white 120gsm the light quite easily 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 incorporating light patterns and was inspired by many one piece that particular caught my eye was his Coral Light (right). The light has a similar idea to my coral concept I reviewed in module one. Left inspired from Tunbridges works I began to look at how light interacts with different types of paper. I realized that there is certain way you can predict how light will interact with the paper. I began exploring 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
I am happy with my design I think it is a successful representation of my original model. Below are orthographic images from each angle of the final design at 1:5 scale. The Final panelling was a custom version of the grouped tri basic it is simplistic and effective.
Top view Scale 1:5
Below: Orthogramic images of the final design
Right side view
Final Design Orthographic Drawings
â€œA new digital continuum, a direct link from design to construction is established through digital technologies.â€? - 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 traditional methods rather its in a expansion. The Adobe Museum of Digital Media one of my precedents is an example of the power digital media. The building and design is entirely digital and is accessed through the Internet but still acts as a traditional museum. The architect Flipo Inoceti explored ideas such as rooms with out gravity is this the future of architecture? The end result was more grounded but still explores the possibility of a structure that does not face a budget or environmental issues. I was inspired by this design because of its paneling but it inspired me a whole lot more. The first reading by Schuer and Stehiling explored the need for mathematics in architectural practice. The reading introduced me to new concepts abstraction and reduction. Abstraction is about producing a model that contains and idea with little effort. In contrast to abstraction reduction is not about reducing but about finding optimal way to communicate and idea. The second reading by five architects reviewed material behavior 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 paneling provided much inspiration for the paneling of my design. The week five lecture was about philosophical designs, and the use of precedent and how precedents should inspire our new designs not dictate. The week 6 lecture was about pattern in architectural design presented by Paul Loh and was a continuation of the reading by Phillip Ball.
Personal Reflection My experience of the module and the new digital media of Rhino has had endless complications. I have found Rhino limiting on the construction of my design. Despite these complications I have enjoyed immense satisfaction that I have battled Rhino, which was one of greatest fears at the competent of this subject. For the next module I must be careful that I do not make decisions purely based on what looks best but remember all the conceptual grounding underpinning each design.
Above: ICD/ ITKE Research Pavilion
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.