Virtual Environment Stephanie Clark 640181 Tutor: Angela Tutorial no: 8

NATURE LANTERN

IDEATION

IDEATION

Natural Process

According to an article written by Phillip Paul, all patterns in nature can be categorized into 3 groups. The first group is chemical patterns, which are formed due to the reaction of different chemicals. The second group of pattern is called granular. The formation of this type of pattern is dependent on the surrounding environment and weather. Lastly, there are the computation patterns, which are created by the interaction between the particles within the object. My chosen nature pattern is of an echeveria. I believe it falls under the â&#x20AC;&#x153;computationâ&#x20AC;? category as the petals of the flower are formed spontaneously to maximize its productivity as a plant. Compare to other flowers, The echeveria has a unique growing process. Instead of blooming like other flowers, the echeveria grows by adding larger layers of petals underneath the existing ones. For this reason, some echeveria can grow quiet tall. The layers are arranged so that all petal receive the same amount of sunlight and water (which eventually runs down to the stem, hence the ground) For my paper lantern, I want to highlight this unique process of the flower.

45

All patterns in nature are believed to follow is specific sets of rules. After thoroughly observing the flower, I attempt to discover the rule of the natural pattern by breaking it down into its geometrical shapes. I realized that each layers are roughly the shape of an quadrilateral. They are turned about 45 from one another. Also, the size of the layer underneath should be just big enough so that the corners of the above quadrilateral are intersected with the sides of the quadrilateral beneath.

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IDEATION

Symmetry For my first analytical drawing, I broke down my pattern into its geometrical shapes. As observed in the flower, each layer is approximately the shape of an quadrilateral. I chose square because the shape itself is already symmetrical. This will help in enhancing the symmetry of my analytical drawing as a whole.

Analytical Drawings

Balance According to what is observed in the flower, there should be more squares towards the center This will make the drawing quiet imbalanced. Therefore, for this second drawing, I've decided to the increase the thickness of the squares as they get bigger. That way, I'll move the focus away from the center, making my drawing more balance.

Movement To create movement within my drawing, I made a network using dots (vertices of the leaves) and connect them using lines. I also increased the thickness of the lines as they stretch out. However unlike the drawing, the variation in the thickness of the lines is to emphasize the focal point, giving the viewer the perception that the lines are twirling towards the center

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IDEATION

This paper model derives from the â&#x20AC;&#x153;symmetryâ&#x20AC;? analytical drawing. I chose to work with this drawing as I think it demonstrates the growing process of the flower best. Since squares have sharp corners, they would be hard to glue down on another surface, therefore I decided to interlace the sides of the squares to better the connection between each part of the model. I turned the squares 45 from one another as this is what I observed in the original flower pattern.

For this second paper model. I varied the height of the sides of the squares and connect them together as shown above. Similar to the first model, I arranged the squares by rotating them 45 from one another. My aim was to use scale to create movement within the model, and as the result, I was able create a twirl.

Using the rules of the previous paper model, I created this pattern on rhino. From this pattern, I was able to pick up some main characteristics that I'll need to include in my final lantern: 1. the idea of lines intersecting one another 2. the variation in height of each layer. 3. and the variation in size of different layers.

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IDEATION

This structure can be created by extruding the previous pattern, then twist it to create the curves along the body as shown above. I made the top part bigger than the bottom to portray the growing process of the flower. When look at this form from the top view, the curves on the form will look similar to the corners of the squares of the previous pattern from the top view, making it resemble more of a flower.

Lantern Concept 1

With a normal echeveria, the top would be smaller than the lower area. It puts emphasis on the focal point at the top. Therefore, in order to turn my hand into the focal point, I have decided to reverse this, making the bottom smaller. Since the bottom is smaller, this lantern can be quiet difficult to balance. Therefore, the method of holding this lantern will need to be changed.

Since the form is hollow in the middle, it allows room for my arm to go through. By using this method of holding the lantern, I won't have to worry about balancing it as my arm will act as a support. Theoretically, my arm will also represent the stem of the flower and the form will act as the layers of petals.

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IDEATION

Using the rules of the made-paper pattern, I came up with this form. The form possesses the main characteristics of the original pattern. The layers of squares overlap one another and varies in size, depicting the growing process of the flower.

Lantern Concept 2

The lantern can be wrapped around my arm as shown in the sketch above. Similar to the first concept, my arm will also acts as the stem of the flower, giving support to the petals which are represented by this form. The variation in size of the squares also helps in drawing focus to the wrist.

Since the model does not wrap one whole round around the arm, it unable to user to move around with ease, without having to worry about squashing the lantern when moving. It also ensures that no part of the tessellation will be covered by the body .

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IDEATION

This lampshade serves as my inspiration. It has the idea of lines intersecting each other (a characteristic that I am aiming to include in my nature lantern). It gives me a good understanding of how the light effect will look like.

Precedent

This is a wire and glass dress painted with ultra violet reactive paint from the Wearable Art Collection of Lollo Kiki Design. This piece of art work really did inspire me. It shows that artworks are not simply something to look at but can be worn with pride. This art work, gave me the idea of turning my lantern into a bracelet, something wearable.

This lampshade is called â&#x20AC;&#x153;Forms in Natureâ&#x20AC;? and is created by Hilden & Diaz. This lampshade is really inspiring as it shows that light can be used to create the atmosphere in a room. The light source was placed in the middle, projecting a 360 shadows of trees and roots onto the surrounding walls This lampshade taught me that the placement of the light source is important. It can determine the outcome of the light effects and can also determine the atmosphere of the space.

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DESIGN

DESIGN

Analogue To Digital

Before I start doing the contour on rhino, I cut the clay model into small sections as shown above. I then trace each section, hence place

The sharp curves on the surface of this form will create problems later on when doing the paneling. I suspect that the tessellation, will overlap one another, making the form impossible to fabricate later on. Therefore, I've decided to simplify this form to ease up the process of paneling.

them on top of one another with a vertical distance of 5 cm. I used the command called “ contour” on rhino to create the form.

I flatten out all the sharp curves on the previous form to create this one. This is opposed to the method of “reduction”, which clearly stated that it “is not about reducing the amount of information but rather about finding the optimal way to transport, hence rewriting the description without alternating the content”. Due to the desire of having a smooth surface to ease up the paneling process, the form was over simplified, leading to the lost of “information”, the original pattern's characteristics.

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DESIGN

Paneling

Since the first concept wasnâ&#x20AC;&#x2122;t working out, I decided to change the form of my lantern all together. I chose lantern concept 2. this form derives from the clay model on the left. It was created using rhino with the command â&#x20AC;&#x153;spiralâ&#x20AC;?. It was simplified to create a smooth surface. Even though it was simplified, the characteristics (i.e. how it gets larger towards the top) are preserved. This form will also provide more opportunity for further development and produce a more complex lantern compare to the previous one.

Experimenting with 2D and 3D panel

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Design Form Outcome I chose this panelised version of my lantern as the tessellation on surface makes the strongest relation to my original nature pattern. . the idea of intersecting lines was incorporated . the height of the boxes in the lantern also varied just like in the pattern to create a sense of movement. This was done using random offset points, with distance caries from 0.5 cm to 4 cm. . the boxes also goes smaller towards the ends of the spiral, enhancing the focal point, which is the wrist). It also portrays the growing process of the flower, my original nature pattern.

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DESIGN

Prototype Testing 1

For the first prototype, I chose the 300 gsm black card. This was done for aesthetic reasons and also to provide more support for the fragile section. As the lantern will be wrapped around the arm, acting like a bracelet, I thought black would be a good choice, as it will make the lantern stand out, drawing the focus of viewers to it. Since the tessellation is only consisted of intersected thin lines, my lantern would be quiet fragile. For this reason, I chose the thick card, to strengthen the skeletal section and make the overall form more solid.

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DESIGN From making the first prototype, I was able to learn a lot of things, what is needed to be changed and what is needed to enhance for my final product. Due to the thickness of the paper, it was difficult to cut out the holes and fold the score lines. The prototype was made using a scale of 2:1 therefore, I was still able to bend the surfaces. However, with the final product, the surfaces would only be half the size of this prototype, which means if I continue to use the same thickness of black card, my model would be almost impossible to bend without making folded lines on the surfaces of the box. Admittedly, the form was rigid thanks to the thickness of the paper. For these reasons, I think it would be best to incorporate both thickness of black card into my final model so that the surfaces can be a bit more flexible and at the same ensure the rigidity of the overall form. In term of lighting effects, since each box has two layers of tessellated surfaces, I was expecting it to give a double light effect. However, as the holes on the surfaces are too big, the light rays just go straight through without giving a desired light effect. Additionally, the light bulb was made visible due to the size of the holes. Therefore, for the final product, I would need to increase the thickness of the lines, to make the holes smaller and hopefully it will reduce the amount the light getting through.

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DESIGN

Prototype Testing 2

To minimize the uncertainty and risks when doing the final product, I've decided to make another prototype using the scale 1:1. For this second prototype, used the black card with thickness 200 gsm to allow a bit more flexibility in the surfaces of the form. As the result, I was able to bend the surfaces of the box as well as cut out the holes with ease. With the thickness of the lines increased, the amount of light getting through is lessen, providing a more desirable light effect, and at the same time, provide more coverage the the naked light bulb. I'm happy with with prototype, therefore, I will proceed to do my final presentation using this same design.

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DESIGN

In TED talk video, Heatherwick points out that a lot of buildings out there donâ&#x20AC;&#x2122;t work quiet well with their surrounding environment, making the buildings themselves appear to be soulless. With this knowledge, Heatherwick has designed many structures that places the surrounding environment into consideration and create spatial effect. This was clearly demonstrated in his Power Station design. Power stations are normally built on fields with their elements scattered around everywhere. Hence the space is not used in an efficient manner. With Heatherwick Power station, he combined all these elements, to create one composition. He turned the power station into a power park, making the power station a place where people can come to visit. He also makes the most use to the required height of the power station, letting people come in and enjoy the view from 250 feet high. By creating this composition, his design appears to be one with the environment, making it more soulful and inviting.

Originally, I wanted to add a back piece to my lantern to provide some support. However, after listening to Heaherwick's talk, I decided to adapt the formula of composition (1+1=1) to maximize the use of all the space inside my lantern . So instead of it just acting as a back piece, I decided to turn it into an area where the LED circuit can be installed and covered. So my lantern is now made to be hollow in the middle with one side totally blocked off as shown on the image above.

The surfaces of the boxes in the last two columns have very small holes. Since they are small, they would not allow much light through and would only weaken the structure in compression. The surface that faces inwards doesnâ&#x20AC;&#x2122;t need to be covered with tessellation, as the light rays would be blocked by my arms anyways. For that reason. I decided to panel that side with 2D blocks.

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FABRICATION

FABRICATION

Tabs and Nesting

The first three cards are for the tessellated part of my lantern. I used black cards with thickness 200 gsm so that I could cut out the holes more easily and also to five a bit more flexibility to the lantern. Since my pattern cannot be unrolled into one single strip, it used up a lot of paper as well as time to construct. The card above is for the back piece of my lantern. I used black card of thickness 300 gsm to enhance the rigidity of the overall form. Even though only half of the paper is used, the surfaces are nested on one side, therefore the paper can be reused later. Grasshopper with the command “set multiple brebs” were used to create the tabs more efficiently. The intersected lines on the surfaces are too small. Therefore, to prevent the paper from being tear by the cutter, I turned the lines into score lines then go over them with a Stanley knife afterward.

The fabrication technique used in the making of this paper lantern is called “twodimensional fabrication” and is one of the most commonly used technique out there To cut out the pieces of my lantern, I had the choice of using CNC cut cutter or laser cutter. The reading “Digital Production” written by Branko Kolarevic gave me a good understanding of the advantages and disadvantages of each type of cutter and which would me most suitable for my paper lantern. The laser cutter uses highintensity focus beam of infrared light in combine with a jet of highly pressurized gas . It cuts the materials by melting or burn them. Therefore, even though it can complete the task in a smaller amount of time and has a higher level of accuracy, it leaves burn marks on the work. This was the main problem that discouraged me from using laser cutter. So instead of using the laser cutter, I chose the CNC cut cutter. It can cut through thicker cards and doesn’t burn the paper. Even though it takes a longer amount of time to complete the task, for the sake of achieving a neat looking final product, this could be overlooked.

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FABRICATION

After experimenting with different types of glues during the making of my prototypes, I've decided to use the UHU glue for my final product. The main reason for using this glue is that it sticks quiet well and dries relatively fast, helping me in speeding up the process and prevent the pieces from from sliding off theirs places. Beside the UHU glue, I also used scissors to adjust the tabs where needed and stanley knife to cut out the pieces that the cutter could not. These are the steps I followed to create my final lantern:

Constructing Process

Step 1: After using the cutter to create scorelines, I used a stanley knife to go over them to makes the holes on the surfaces. Step 2: I then glue the surfaces together to to create a box Step 3: repeat step 1 and 2 for all the boxes hence glue them together to create a solid spiral. Step 4: The LED circuit is then glued onto the back part of the form, which is then connected to the made spiral.

After gluing the pieces together, I discovered a few places where they don't fit together well which left big gaps as shown above. Therefore, I decided to make another layer on top of the pieces to cover the gaps and make my lantern look neater.

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FABRICATION

Since the light bulbs have flat bottoms, I was able to glue them onto the flat surface of the back of the lantern as shown in the sketch on the right. The lights are distributed evenly along the the surface of the back piece. Since the boxes at the last two columns are blocked off, it was unnecessary to place any light bulb there. When the back piece is connected to the spiral, the circuit is totally covered, except for the switch, which is made visible at the bottom end at the spiral for easy access. at the last two columns are blocked off, it was unnecessary to place any light bulb there. When the back piece is connected to the spiral, the circuit is totally covered, except for the switch, which is made visible at the bottom end at the spiral for easy access.

Lighting

FABRICATION

FINAL PRODUCT

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REFLECTION This subject has taken on a long journey. It helped me to see the world in a very different way and also got me to appreciate digital technology. With the ongoing development in technology, computer has become an essential in designing and fabricating a model or structure. Not only does it allow me to have a greater control over my structural process, it also saves allot of time and labor work. The program Rhino has helped me a great deal in this project and ease up the process of tessellation. The programâ&#x20AC;&#x2122;s paneling tool assists me in creating tessellation over the surface of my form.

It pieces the patterns together and allows me to gain a thorough understanding of the visual appearance of my lantern without having to build many trial models. However, computers, without exception, also have their limitation. Sometimes, it can over tessellate the form, making it difficult or impossible to build. This was a problem I encountered during the making of my lantern. For this reason, I had to compromise the form or the pattern in order to make the structure possible to build.

There are many things I would do differently if I had the chance to redo this project. For instance, now that I have a better understanding of how to use Rhino, I would raise the level of complexity of my lantern and create a stronger connection between my original nature pattern and my lantern.

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Module 4 stephanieclark 640181

Virtual Environments