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Module 2

Hugh Stanford Student number: 583128 Virtual Environments Semester 1 Group 8

Lofting By using the (...) panelling method the production of an accurate yet improved version of the original plasticine model was possible. The shape is true to the model, yet by using the circle function the surface was able to be smoother and more genuine to the intended shape of the design.

The original Lofting of the model was an arduous task, resulting in 3 different attempts before I was satisfied with a final base model. The second lofted model was the construct of the contouring method. Effective as this model was, due to the complex connection between two arms of the model, there were discrepancies in the continuity of the lofted surface.

Original Loft was produced manually The second loft was a more accurate reprevia a guess and check method. sentation of the original plasticine model.

The final model was an edited version of the second loft.

Outlined contours of model

Cross section cutting of model

Discontinuity of the Vertical ‘human arm’ as well as poor connection to the horizontal ‘Gibbon arm’

The Current plan for connecting the arms is to have a cut out of one of the arms, where the male part fits into its female cut out counterpart, and stays there due to tabs gluing the two together.

All arms contoured and lofted Rendered model of the second loft attempt, subsequently further edited

Side view displays issues with connectivity of the human and Gibbon arms

Nose shows no continuity issues also allows for better connection between arms

Virtual Environments Hugh Stanford

Lofting of the ‘Human arm’ separately from the other arms

The orthographic photos used to base the models off were somewhat inaccurate, specifically the sideways view was taken at a slightly raised angle. This made it difficult to get a perfectly accurate virtual model. To combat this, manual editions were required to tweak the model into a more natural shape. Furthermore, the photographs had different scales. The effect of this was nullified by changing the size of the photographs, thus manually editing the scales of the photos to allow for a closer alignment.

Lofting the arms individually was the most efficient and accurate way to produce model. Lofting the entire design at once resulted in connectivity issues, where surfaces not in parallel were unintentionally connected.

Applying reference curves to contour against

Virtual Environments Hugh Stanford

2D Panelling Experimentation

3D Panelling Experimentation

Several 2D panelling designs were made, using a varied range of techniques ranging from surface cut-outs to wire messing. However, most required a printing on the outer surface rather than a change in shape of the model. Overall, the 2D panelling was used as a stepping stone to progress several ideas into the 3D medium.

Several methods of 3D panelling were used to create these models. Not only variations between the ‘3D Panelling’ and ‘3D Custom Panelling’ functions exist, but also between the shapes used when custom panelling.

This pattern is a 2D representation of the panelling shape that was used in the final design

Experimentation with ‘3D Custom Panelling’

Experimentation with 3D ‘Library Patterns’

This model shows variation in the underlying grid, resulting in elongated segments

2D panelling design which was later used as a 3D proposal.

The circular shape used in the panelling is based on the cross sectional cutting of the model originally. The pattern at one end of the ‘human arm’ represents the cross sectional shape of the first ‘human arm’ contour. The pattern changes to the first contour of the subsequent arm. This pattern is repeated for all arms.

Aside from being relatively plain to look at, many of the 2D designs would have impossible to manufacture given their cylindrical mono surfaces. They therefore represent experiments with the Rhino functions rather than possible final models

Experimentation with the ‘Split’ function, later used in the final design

Simple ‘Box’ pattern applied to surface Pattern later used on the final model

Close up of triangular pattern

Virtual Environments Hugh Stanford

Further experimentation with ‘3D Custom Panelling’

3D variation of previously mentioned 2D pattern

Virtual Environments Hugh Stanford

Ribs and Notches

Paper experiments

The creation of a ribbed and notched structure was more related to the functionality or the lantern rather than an alternate proposition for the exterior panelling of the model.

During the early stages of brainstorming for a final panelling scheme, creating paper models of potential designs was an efficient way to see what structures could be fabricated. The bellow design was subsequently created in Rhino, but was later scrapped for the final design.

By overlying the final design atop the underlying rib and notch surface, the entire structure gains significant structural stability, as well as providing a surface in which an LED light can be attached.

Creating physical models aided with experimentation of silhouetting. By having a physical model to shine light through, a real world perspective not possible on Rhino was achieved. Paper model of potential panelling design,

Rendered side view

Rendered perspective view

Though none of these designs featured in the final model, using physical models aided in the understanding of what types of structures would be possible to fabricate, as well as how light would interact with them Experimentation with Silhouetting

Rendered frontal view

Virtual Environments Hugh Stanford

Virtual Environments Hugh Stanford

Final Design

Final Design: Panel Idea By using a technique of analytical drawing similar to that taught by Kandinsky at the Bauhaus, the main forces in still photographs of both Gibbon and Human locomotion became the main inspiration for pattern used in the final design. Original Analytical sketches of Human body position during gait

Originally the analytical sketches needed to turned into closed polygons, this enabled the use of the shapes as a panelling sub-unit.

Closed polygonal variation of original analytical drawings for Gibbon

Original analysis of Gibbon body positions

Once closed surfaces, the polygons were converted into identical triangular outlines. This allowed for a more conformed sub-unit, increasing the ease to produce a final panelled surface. Furthermore, the uniform shapes were edited for the optimal balance between resemblance of the initial sketches, whilst allowing ease of panel fabrication.

Variations in proposed sub-unit for the ‘Human arm’ Triangle outline being added to initial closed shapes for human sub-unit

Virtual Environments Hugh Stanford

Process of complicating and simplifying shapes produced several variations for the ‘Gibbon arm’

Virtual Environments Hugh Stanford

Final Design: Final Panel Idea

Final Design: Final Panel Idea After experimenting with several variations of the initial Analytical sketches, the final shapes decided upon where a simplified version of the original shapes produced. This enables improved ease of manufacturing. Furthermore, the technique of analytical drawing taught by Kandinsky involves hyper-simplifying a form, therefore by opting for the most simplified version of shapes, the outcome stays true to the original inspiration for the panelling idea

Final initial pattern for the panelling sub-unit of the Human arm

Final initial pattern for the panelling sun-unit of the Gibbon arm

The core structure of the lantern represents a diagram of the movement of a Gibbon’s hand and a Human’s foot during locomotion. The panelling orientation further displays this spatial representation through the varying shape pattern along it’s length. Image displays variation of panel shapes along length of arms

Upon converting to a 3D shape, further editions were required to enable a pattern possible of being manufactured using folding and gluing techniques. Any shape with 4 or more sides provided a risk of deforming when put into a 3rd dimension. By dividing all non-triangular shapes into triangle sub-units, the ability to fold the overall shape became possible. Edited 3D version of ‘Human arm’ sub-unit

Virtual Environments Hugh Stanford

The pattern of panelling closer to the origin of the arm correlates directly with the analytical drawing of the same period in the locomotive cycle. This was achieved by using a point attractor during the 3D custom panelling tool.

Virtual Environments Hugh Stanford

Final Design: Lighting

Final Design: Grid variation

Because the base structure of the lantern is cyclical, as opposed to linear, the idea of light emerging from a solitary point seemed out of place. Instead the light disperses evenly across the entire surface of the lantern. Perhaps representing the continuous disposition of locomotion.

Creating a varied grid was the final design alteration for the lantern. Both the vertical ‘Human arm’ and the horizontal ‘Gibbon arm’ involved the use of 2 point attractor, resulting in 2 convoluted and 2 elongated areas. The 3rd connecting arm is half the size of the other segments, therefore only 1 central point attractor was used

Due to the previously mention editing of the original panel sub-units to allow for conversion into the 3rd dimension, the original shapes were changed until almost unrecognizable. In an attempt to reexpose the original shape, the holes in the panelling were specifically chosen to highlight the original triangles within the pattern sub-unit. However, two triangular units next to each other would not be able to both be gapped, this would produce structural instability as well as blending the two shapes into one. Therefore some triangles were not able to be holes. This resulted in a blending of the original shapes with the later edited shapes, thus decreasing the original desired effect. Varying holes in the lofting visible from perspective view

Convoluted and elongated areas are visible on vertical and horizontal arms

Close up displays the holes in the panelling

Virtual Environments Hugh Stanford

Virtual Environments Hugh Stanford

Design Process

Design Precedents The newly renovated Bourke Street Myer store’s roof was a standout feature that inspired the panelling design. As evident in the photos and sketch, the rooftop consists of a range of triangular shapes. No two triangles are of the same size and orientation, yet they fit together inside a relatively square outline. This is very similar to the lantern pattern, where each sub-unit was a combination of varying triangles enclosed in a bounding square pattern.

The way in which light is let into the building is mirrored by the lantern. Triangular transparent cut outs from the opaque surface allow light into the structure. The lantern uses the same form to allow light to emerge from it. Roof of Bourke Street Myer

The 3 dimensional form of the Myer building is formed by different shaped triangles being positioned at varying angles. This also is mimicked by the lantern where the triangles in each sub-unit are all positioned at different gradients, resulting in the unsymmetrically pointed surface.

Sketch displays alternating triangles

Virtual Environments Hugh Stanford

Virtual Environments Hugh Stanford

Reflection I found this Module difficult and greatly time consuming, yet enjoyable. The technical aspects of it, in contrast to the highly designed based Module 1, allowed for a greater depth in the learning process, where I was not only challenged to invent a new design, but also to discover how to create it. I would liken the experience to buying an item of furniture at IKEA, only to discover you have the wrong pieces and no instructions, you will eventually make a structure that looked nothing like you anticipated, but is unique in its own way (lets just hope if doesn’t collapse as soon as it is tested). The positive aspects I found in this module was the huge learning curve, where I have learnt how to competently use a software. A observable functional skill in which I can take into future assignment at university as well as into a career. The manner in which the Module altered from conceptual design based activities to practical activities prevented me from growing fatigue with the assignment, thus allowing me to partake in the significant hours it took to firstly learn how to use the software, and secondly use the software to create a virtual model. The aspects of the assignment I didn’t like, was predominantly the arduous task of learning how to use the software. I was surprised to find that learning the software was drastically more difficult than using it. However, nothing can be done to change this, and the resources were greatly helpful. However at times the information told by the online tutorials didn’t not work when replicated on my screen. This was significantly frustrating and often resulted in hours of work to figure out how to bypass the issue that the tutorials didn’t seem to encounter. I found that if I had not let myself fall behind initially in this Module I would have been able to spend an infinite amount of time experimenting with different panelling techniques, as it was significantly easy to lose hours of time to micro-tweaking seemingly insignificantly minute aspects of the structures. I feel if I were to start the Module again with my new found knowledge, the work produced would be of an gargantuanly greater quality. All in all it was an very enjoyable Module, and I could not be happier to see the end off.

Hugh Stanford Vert Env Module 2  

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