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REFLECTION Photo : Sophia Rogge (2013)

Rizal Ambotang Student no . 641233 Semester 1/2013

Group 5

MODULE 1 : ideation Photo : Sophia Rogge (2013)

IDEATION module starts with looking at virtual environment as representation of the real world. Nature provides best examples of pattern formation. Underlying these patterns, they are governed by algorithms or simple recipe/rules. To synthesize the underlying pattern behind the complex natural form, I was introduced to the concept of analytical drawing by Kandinsky (Poling,1987) which involves 3 stages: Stage 1 Simplify the subject by removing all details and complexities Stage 2 Discover the underlying relationships between elements (tensions) as well as identifying focal points that creates these tensions. Stage 3 Translation of objects representations.

IDEATION | analytical drawing & pattern synthesis



Photo : Sophia Rogge (2013)


Base element


Base element (pentagon)

1) Draw a line between the opposing curves.



From the patterns I have selected from nature (coral, polyp and cabbage), I simplified these patterns by removing the details and tracing the overall shapes or lines of the objects. Subsequently, I was able to discover the connections (tensions) between different elements and developed focal points that provide the point of origination of these linkages. I represented these linkages/tension with appropriate lines or base elements and discover the emergent patterns. I have also explored the different concepts of balance, symmetry and movement on to the new emergent patterns. Based on the Aranda and Lasch (2006)

1) Divide into 5 quadrants 2) The curves mirror each other along the axis of sym1) Duplicate and rotate base element around the 5 sides of the base element. 3) Duplicate & scale base element 2X on the same centre.

reading, there are several tooling rules that will influence the formation of subsequent form mainly spiraling, packing, weaving, cracking and tiling. I was able to create a recipe on how my chosen the emergent pattern through spiraling. By using the recipe, I was able to build the emerging form from the paper model exercise and later the clay model.

2) Repeat (1) one the new pentagons. PACKING

Chosen pattern for my final emerging form

IDEATION | recipe & emerging form NATURAL INSPIRATIONS Step 1

Step 2

Step 3

Taken a specific moment of the 3D extrusion process, a pentagonal element was taken as a base element.

Copy and scale 1.2x of base element

Rotate 10 degrees counter clockwise

IMAGE: Tornado (Shutterstock,2013)

Step 6

Step 5

Step 4

increase the height (3D extrusion) of each element by 0.5 cm increment increment

Extrude each pentagonal element in paper model

Repeat step (2) & (3)


IMAGE: Tornado (LAMB, 2000)

Tornado & how it works I looked at the formation of tornados with the upward movement and scaling up (growth) of the air current creating a funnel.

IMAGE: Water vortex (GOOGLEIMAGES, 2013)

Water vortex/whirlpool Step 7 Assemble the 3D paper model

Similarly, the formation of vortex and whirlpool inspires me to look at the movement inwards for my emerging form. Taking cues from the Ball(2012) reading, where the pattern are self organised and follow a set of rules i.e. recipe until it reaches equilibrium, my pattern developed initially from a 5-side form and it GREW and SPIRALLED upwards and at equilibrium it collapsed unable to sustain the form.

“movement & growth�


Clay model allowed me to develop the emerging form and asist me to scale the form to a suitable size as well as explore the aspects of handling of the lantern. This was one of my clay ,model which I used to come up with the eraly emerging form. Later I discovered that I can completely built my emerging form in Rhino by lofting the initial pattern according to my recipe. Looking back, it would have been a extremely useful to persist with the traditional visualisation process of developing my emerging form through the clay model. The modeling using the clay model would assist me in getting more organic and fluid form as as oppose to developing my model in entirety in virtual environment i.e. Rhino.

This is strongly stressed in one of the reading, Building in the Future - Recasting Labor in Architecture, where Deamer and Bernstein (2008) pointed out the disconnect between design and production where “ drawings and models are no longer used to represent design intent”. Additionally, it was quoted in that reading (Pye, 1968) where the lost of “craftmanship” through mass production and the need to preserve the traditional craftmanship. This craftmanship will allow the connection between the model and the “maker” through human inputs i.e. “ judgement, dexterity and care”(Pye, 1968).

MODULE 2 : design

DESIGN | digitisation This was my first clay model that I use to digitise using the contour curves. This technique was intended to bring organic and complex form from traditional model making approach to digital realm. Once digitised the form can be further developed and improved. I found that it’s much more practical and easier to loft the entire emerging form by following my recipe however I do think that this technique is very important step in bridging the TRADITIONAL visualisation with the 3D computer visualisation.

At this stage my knowlege in Rhino was not suficient to assist me to develop the digitisation model into the final 3D model that represent my final emerging form. Instead I have decided to pursue the lofting completely in Rhino.

DESIGN | panelling

growth and swirl lines


Paneling the mid section of the funnel/outer shell I wanted to preserve the swirling lines as the form builds upwards. In doing so, I decided to just panel half of the surface by offsetting the panel pattern. If I panel all the surfaces completely I may lose the swirling movement which is a significant attribute of the design.


growth and swirl lines

2D panel an instance from my natural pattern

DESIGN | panelling


Paneling the top section of the funnel/outer shell Continuing from the earlier swirling movement, I wanted to depict the significant swirling movement of the vortex by paneling the pattern larger.

2D panel an instance from my natural pattern


etch lines (in fabrication)

Instead of constructing opening using 3D panel, I use the fabrication process to generate create the cut lines which can add the 3rd dimension to the flat 2D pattern. cut lines (in fabrication)

DESIGN | panelling


Paneling the top section of the funnel/outer shell I wanted to represent the dense swirling at the top of the funnel before it collapses into itself by paneling the surface with the same element but mirrored and rotated into a new pattern. Elevation

2D panel mirror & rotate

DESIGN | internal shell





etch lines (in fabrication)

cut lines (in fabrication)

To show the internal shell, I have opted to contruct the internal shell in black to represent the “collapse” / “destructive” nature of the form thus differentiating the outer skin and inner shell. Further to this, instead of

constructing opening using 3D panel, I use the fabrication process to generate create the cut lines which can add the 3rd dimension to the flat 2D pattern below.

Reflecting on the lecture on Public Sculpture on week 7 by Ben Gilbert (2013) where he emphasizes the creation of own tools and techniques to achieve the design goals or fabricate the undevelopable outcome.

DESIGN | prototypes Material : Ivory card (outer skin) + black card (inner core) Weight : 250 gsm (white ivory) + 300 gsm (black card) Machine : card cutter

Material : Ivory card (outer skin) + black card (inner core) Weight : 300 gsm (white) + 300 gsm (black card) Machine : card cutter

This prototype in my opinion was the initial learning processs of how what is design in virtual environment may not be practically fabricated in the real world. I found the following problems prevent me from pursuing this design : Outer shell Inner shell

1) The inner core cannot be mounted/ installed inside the skin as planned. The tabs connecting the panels prevented the inner shell to be connected to the inner wall of the outer shell. 2) The inner shell is fabricated from a much heavier material i.e. 300 gsm black card , and the outer skin is much lighter due to the thin offset. When the top tabs of the inner core are glued to the tabs of the outer skin, the outer skin collapse into its own as the inner core is heavier.


In terms of lighting for this design I think it has achieved its objective in producing interesting lighting effect.

Thicker offset, but lose visibility of inner shell.

2 Inner shell was taken out and but model looked disjointed & doesnt make sense.

2nd prototype explored the effort in making the upper section of the outer shell more rigid and able to take the load from the heavier inner shell. This is done by thickening the offset. However in consequence the visibility of the inner shell was reduced and was not able to highlight the interesting feature of the 3D panel constructed. Additionally, a critique was made that paneling is based on tribasic with offset that is inconsistent with my initial natural pattern. Back to the drawing board!









Material : Ivory card (outer shell) + black card (inner shell) Weight : 250 gsm (white) + 300 gsm (black card) Machine : card cutter

MODULE 3 : fabrication

FABRICATION | unroll templates (**NOT TO SCALE)

I elected to unroll my model in horizontal sections and glue the sections in 3 different parts i.e. top middle and bottom parts. This will help me install the inner shell, the bulbs and wires easily for my final assembly.



unfolded arrangement on 600 x 900 mm cards TOTAL SURFACE AREA OF PAPER 0.54m2 Page 1 0.1675 m2

Page 3 0.1894 m2

Wastage (%) = 68.9%

Wastage (%) = 64.9%

Page 2 0.2603 m2

Page 4 0.1675 m2

Wastage (%) = 51.8%

Wastage (%) = 75.6%

I nested the panel as close as possible. Through the prototypes the following observations are made : 1) Limitated on the card cutter and material of my model I must trade trade wastage with successfuly fabrication. 2) The more nesting I made the more difficult I can identify the parts when assembling.





FABRICATION | notes Tab width is set at 8mm and created through Grasshoppert script.

Some cut lines were replaced at strategic location to prevent the cut shape from being ripped out as the cutter cuts the shapes or adjacent shapes.

Verical lines are traced and etched so that the section can be fold and shape to intended form

2D cut out can be made 3D by folding the cut inwards/outwards at the etch line.

FABRICATION | assembly process 1















Left to right : 1. File & print setup for card cutter 2 . Cutting 3. Detaching 2D panelling from card 4. Folding tabs and creases 5. Glueing 6. & 7. Assembling mid section 8. Laminating parts 9. Assembling top section 10. Assembling bottom section 11. Joining midsection to bottom section 12. Joining mid section to inner shell. 13. Adding light circuit and attaching wires to the inner wall before closing. 14. Closing & joining top section with the rest of the sections. 15. Completion.

FABRICATION | final model


FABRICATION | lighting

Photo : Hilden Diaz (2013)

For my lighting inspiration I was drawn to the work of Hilden Diaz (2013) on a light sculpture, “Form of Nature�. She used a central light source surrounded by dense artwok in form of tree and root pattern to cast a 360 degrees shadows. In my design

1 Photo : Hilden Diaz (2013)

I have provided intense light sources from the bottom of the model shining upwards to hit the side walls with the patterns and the opening (inner shell) that reflect my initial natural pattern. The interplay (and overlaps) between the 5-sided patterns provided the intricate shadow play and lighting effect.

2 circuits led lighting with switch

1. The lightings pattern play 2. 5 sided pattern projections


MODULE 4 : reflection


I started this subject without any expectation on what the subject is and what I can gain from this experience.

After 10 weeks of intensive and mind bending experince I am convinced that this is what I wanted to do, Architecture and this is the start of my interesting journey. What I have learned in this subject was the design process and development of ideas inspired from my surroundings. Abstraction of forms and shapes through analytical drawings techniques allows me to synthesize complex patterns/forms and assisted me to arrive to an emerging form suitable for further development. I have also been exposed to tools in design and ‘making’ architectural production. These tools include digital modelling software (Rhino NURBS modeler) as well as traditional visualisation technique such as clay/paper models and digitisation of clay models to

bring organic form into digital form. The 3D modeling software expanded the ability to design complex forms and to explore design ideas. I can generate prototypes fast and efficiently through the use of computer controlled fabrication tool such as card cutter to test design and resolve production issues. Additionally, prototyping allowed me to test lighting effects for my eventual ‘lantern’. This subject also exposed me to future opportunities and what lies ahead , skills required, new innovations in integrated design and fabrication process and overall design regime expected in upcoming studios. Additionally, I cannot undermine the experience I had in this class for character building such as patience, perserverence and thinking outside the box to achieve what are expected in this rigorous curriculum.

OPPORTUNITIES | 3RD INDUSTRIAL REVOLUTION The 3rd industrial revolution, opens up new business model where opportunities for distributed manufacturing (Rifkin 2011) allows proliferation of internet-based home business where products are created and customized /purpose built for a person and not just the masses. Taking inspiration from this new economic movement and my experience in this class could trigger possible future product development that can be done in-house. From my experience in this class, I am able to take my natural surrounding as source of inspiration and materialize these ideas into functional products. Tools such as digital modeling using Rhino (or any other NURBS modelers) allow me to create products virtually and on a normal home computer. With digital making and fabrication, product design can be efficiently iterative as I can build different prototypes promptly to resolve design and production issues and arrive to final design product. Bernstein (2008) and Deamer (2008) in their book, “Building the Future : Recasting Labor in Architecture” questioned the balanced between “human imagination” and computer processing. To rely entirely the design process on digital realm may detach the human contributions from the design process thus possibly risking the “craftmanship quality” (Bernstein 2008).

This is evident in my fabrication process, where the tabbing script was not able to generate tabs in all situations and slight curves are approximated and in consequence deviated from my true design.Additionally by abandoning the clay model digitisation technique possibly compromised my organic form of my model. Rifkin (2011) also explained in his book that, on-demand production allows for accurate management of demand-and-supply thus creating tight supply chain to meet customer demands. In consequence, products can be sold to end user without waste and ultimately result in greater efficiency of energy use. My creations can access funding opportunity through microloans or crowd funding websites (Rifkin 2011) such as Kickstart or Indiegogo that allows ideas to be tested and funded over the Internet creating instant demand and instant funding to get a product going. I foresee my in-house product creations have access to wide range of production options cheaply and easily accessible through internet thus creating low barrier of entry and minimal capital outlay. Additionally I can market my creations to the global audience through websites such as Etsy. I can also use social media tools such as Facebook and Pinterest to sell to niche audience. These opportunities are available for me to explore in coming years in school and upon cpmpletion of my studies.

REFERENCES Images DIAZ, T. H. A. P. 2013. Forms of Nature. Denmark: HildenDiaz. SHUTTERSTOCK, 2013, Tornado LAMB,2000, Tornado GOGGLEEIMAGES, 2013 Water vortex ROGGE, S. 2013 , Coral Polyp References BALL, P. 2012. Pattern Formation in Nature: Physical Constraints and Self-Organising Characteristics. Architectural Design, 82, 22-27. DIAZ, T. H. A. P. 2013. Forms of Nature [Online]. Denmark: HildenDiaz. Available: http://piodiaz.wordpress. com/2012/11/15/forms-in-nature/ [Accessed 02/06/2013 2013]. DEAMER, P. B. A. P. 2008. Building the Future: Recasting Labor in Architecture. In: DEAMER, P. B. A. P. (ed.) Building (in) the Future: Recasting Labor in Architecture. New Haven, NY, USA: Yale School of Architecture. GILBERT, B. April 2013 2013. RE: Public Sculpture - Agency of Play. LASCH, B. A. A. C. 2005. Pamphlet Architecture (Book 27), New York, Princeton Architectural Press. POLING, C. 1987. Analytical Drawing in Kandisky’s Teaching at the Bauhaus. Analytical Drawing in Kandisky’s Teaching at the Bauhaus. New York: Rizzoli. PYE, D. 1968. The Nature and art of workmanship. London: Cambridge University Press. RIFKIN, J. 2011. The third Industrial Revolution. The Third Industrial Revolution: How Lateral Power Is Transforming Energy,

Module 4 rizalambotang 641233