Nina Novikova643695

Virtual Environments

Semester 1Group 2

Module 4

Module 1 – Ideation.

The structure of coral concerns the transfer of pressure and weight, creating a solid, stable form from minimal material, which follows a steady growth pattern which develops in a way to prevent fractures and damage.

Plot a series of random points. They do not have to follow a set grid, but must be placed at an approximately even space from each other.

Use each point as the centre from which one should bring out lines heading in different directions – following and/or between the x, -x, y and -y axis. The number of lines should be 5 or 6; they should not intersect or connect.

Connect the outer points of each line. Again, the shaped should not touch.

Pattern recipe

Natural patterns are formations which occur in a natural environment and maintain some sort of rhythm, repetition or mathematical algorithm to them, usually establishing a repetition of identical or similar fragments. Patterns in nature can be an outcome of growth and development of a formation, movement, self-organisation and hierarchy of elements in a system, a material’s reaction or conflict with an exterior force, and so on.

This particular found pattern can be classified both as compact packing of the elements, and the visual tiling of cells. Aranda and Lasch, 2006). The same source proposes a method of locating intersections between bisectors of randomly scattered points; I found that a simpler and more efficient method could be put in place, which retained the fundamental information about this pattern.

Patterns in Nature

II - ProtoHouse by Softkill Design – a project which focuses on using algorhythms of bone growth and development in 3D modelling and printing

I - The fenestrae in the skull of a hare – sample bone structure

III - Airbus project – roof of aircraft that imitates bird skeleton.

I – I find this photograph really beautiful, the bone depicted having a light, organic quality, achieved by the porous formation of material and the organic form and colour. The visual aesthetic is also very light and delicate – the piece looks extremely fragile and breakable, due to the amount of negative space and thin, seemingly brittle connection that run through the bone. However, being one of the most crucial skeletal structures in a body, it is undoubtedly able to support its weight; the physical matter of it is bound to be strong and sturdy.

II – a project during which not only had design and architecture been influenced by a natural pattern/formation, but where the pattern dictates the actual construction method, and the algorithm of bone growth becomes a guideline for construction of artificial matter.

III – a combination of high-class modern technology and natural pattern, where a natural and thus ancient formation becomes the influence for new developments and design proposals.

Natural & Architectural Precedents

Module 1 – Ideation.

Having imported my image tile of the found pattern into the program Rhinoceros, I looked at extruding a digitalisation of the information, which I would then use to build my paper model to get an idea of how said information can be reworked and represented in a physical three-dimensional paper form, which is the proposed material.

A basic variation – a set of curves which directly follows the analytical drawing/recipe for the chosen pattern

The same curves being pulled up, extruded via Rhino – one way of making them three-dimentional, but doesn't exactly look like physical matter of the found pattern/bone structure/coral.

If one closely studies the first precedent – the hare skull – the physical matter is so narrow and tiny it can be barely considered three-dimensional; the negative space seems to be prevalent. The entire form is build upon the layering, branching and connection between the outlines of the bone and through the entire interior. Based on that, I have created a set of curves which work around the negative space and features connecting surfaces intertwining within the outline. To make that shape 3D and develop the layering effect, two identical but reversed surfaces made out of paper had been laid one atop the other, with approximately 3mm in thickness of double-sided insulation tape between.Just by itself, this model inspires potential design options of a double-sided panel; it also displays the information of the base pattern in a way that is both aesthetically delicate and structurally stable.

Extruding form & Paper space

Clay Sculptures. Potential 3D model forms.

The original recipe proposes an asymmetrical yet balanced form roughly resembling a pentagon. The first clay sculpture, created as part of a 1:5 scale exercise, deals with a straightforward arrangement of 5 panels, with a presumed light source in the centre penetrating the negative space of the panels (refer to paper sculpture) and the gaps between the panels. However this is a very simple concept, and doesn't really include much layering, which is a quality I'm beginning to find undeniable looking back at my precedents.

An idea of having two bodies of a model is then explored – an interior structure made of smaller panels surrounded by larger ones, and connected in one way or another. This would provide visual complexity and spatious value as well as an opportunity for further layering, and thus possibly interesting lighting effects – when the lighting stage is reached, that is. It would also contribute to the structural complexity and strength of the model.

The same concept is present in this clay model, however a more organic curve of both the bodies proves to be more suitable for this design idea. Delicate and visually soft, organic subject matter would probably suit curves moreso than well-defined, angular geometric shapes. Leaving a flat opening was initially done just to the clay sculpture could stay upright; however it gives an interesting idea of how the model can interact with the hand it is to be held in – via an unpanelled opening, perhaps by the actual smaller interior part.

Handdrawn sketches were made to portray the idea of a smaller body – a sphere, if you like – inside a bigger sphere, focusing on the interior, the centre of energy and weight to be held in one's hand (top right), and how it is framed by the exterior (bottom right).

A clay model I didn't like which communicates an overly simplified design of a plain coil of panels, and an overly compex one with connections between outlines going all over the place – ultimately to become too crowded and overbearing. Thus, the two ideas aren't regarded much.

Lofted shape Lofted shape - tribox Sphere - Diamond Sphere - Brick Sphere - 3D wedge Custom panel sphere

Module 2 – Design.

Digitalisation & Panelling

At first, a rounded, organic shape was lofted from a set of isocurves which tried to imitate a pentagon-like outline, however it didn't quite come out the desired manner. After completing and experiencing difficulties with one lofting exercise, a simplified option was chosen, as seen in the last clay model – simply using a sphere. The diametre of the shere is dictated by the size of my palm so that it comfortably sits in it – with 150 mm in diametre being the biggerst I can hold comfortably, the interior shpere is 145 mm.

A few panelling excercises and trials were performed before creating cutsom panels. As extected, the results featured some harsh, angular geometry, which should probably be avoided for aforementioned reasons. Despite having an undeniable eometric aspect to it, I would like to avoid unnecessary triangulation and keep my form as orgnic as possible.

The first attempt at a custom 2D panel features a pentagon with rounded edges full of smaller like shapes. Unfortunately the lack of surfaces in that oanel creates nothing more than a series of curves; the fact that a pentagon is not a continuous shape, it does not tessalate together with othr pentagons, so the coverage of the shapes produced – which resemble diamonds moreso than pentagons due to the distortion of panelling – is not complete. The use of a 2D panel also rids the shape of any sort of layering.

The second digital prototype (far bottom right) is significantly improved, but still not optimal. Triangular panels create rectangles which allows the panels to be tessalated together, but dictate the size of the openings. The amount of the latter makes the layers look too dense and crowded; the effect of translucidity and lightness seems to be lost.

6 x 6 UV points allows the hexagonal form to be developed

Digitalisation & Panelling

The most optimal panelling option features two identical 2-dimentional panels distanced 5mm apart, one reversed so that they create different openings. Looking at previous attempts and how thinly they have been stretched in the process of panelling, the panels were edited so that there is a minimum distance of 3mm between each opening, otherwise the structural stability is a concern, as well as the cutting method

Detail – looking from the inside Rendered plan view

Side view of the exterior sphere

The digital form had retained the aesthetic desired – the 3D model looks very airy and delicate, with the round shape maintaining a sense of balance, space and volume, preventing the complexity of the layers from looking too crowded and dense. This whole shape selected relies on the recipe of the primary base pattern – the panels take direct influence from the analytical drawings, featuring a repetition of cells/openings. The panels themselves are also repetitive, and just asthe space between the openings formed the panels, the panels form a larger shape . Looking at the future lantern from the top, the observer would be able to see a more geometic rendering of the same pentagonal shape which the panels consist of to begin with. This really emphasises the repetitive nature of patterns as well as having different aspects of the future lantern compliment each other, visually and conceptually tying them in, which is why I really like this design solution. The makng of prototypes would see whether it's also physically stable.

Prototype 1 – exterior sphere panels

Prototype 2 – interior sphere panels

Section 1a) – exterior side of panel

Section 1b) – inner side of panel

For a while, I have considered including an additional feature to the design – a tubelike sleeve which the arm would have to go through. However this introduced a new curve and a new set of geometry which is irrelevant to the rest of the lantern, so this option was disregarded.

Module 2 – Design.

Physical prototypeProposed dimensions for current digital model & tube sleeve

The prototype cast some really interesting shadow effects which pleased be, both on exterior surfaces and between the layers themselves

The physical prototype demonstrates that this particular design is indeed structurally stable – despite the many details and open spaces,it is surprisingly sturdy to the touch, the panels don't bend a wobble, which was a possible concern. A single set of two panels glued together with PVA glue is able to not only stand upright but also support the weight of another on top – a good sign, especially concidering that in a finished lantern, the weight would be transferred more or less evenly through each panel.

Final digital form

Isometric and perspecive views of the final model, showing the smaller sphere sitting inside the exterior shape.

The final form of the lantern, digitalised. There had been changes made to the profile of the exterior sphere – it has been scaled up by a factor of 1.15, to ensure that no geometry looks dence, and also to suit the positioning of the hands and arms better. The placememt of the connectors is surprisingly well-thought out – looking from most of the angles one can barely see them from the outside – there is the visual effect of the smaller sphepre floating within the other one, really emphasising the translucid effect.

Sme of the dimensions are not in full numbers; this is because the form is slightly distorted through the process of panelling – when straight surfaces and angles are put into place, some areas are extended, some – reduced.

Exterior sphere – Section 1a + 1b

Interior sphere – Section 2a + 1b; connectors

Exterior sphere – Section 1a + 1b

Fabrication

Interior Sphere – section 2a Exterior Sphere – section 1a

Connectors and section 1b

At first, the unrolled surfaces to be sent to the laser cutter spanned over 4 pages, (below), but for the final model they fit onto two, (above), which greatly rediced the waste.

Some other minor changes were made from between module 3 and module 4 fabrications – for example, manually shifting around the outlines of openings that left gaps too narrow, or fully getting rid of the openings at the very edges of the triangles of the top part of both spheres.

Due to the fragile nature of the panels and the very thin, narrow spaces, using the Card Cutter was not an option. While working on the physical prototypes, it was established that hand-cutting all the openings gave the most control over the work, however it was not efficient and there was always room for error.

The laser cutter turned out to be the best option avaliable, as it offered a lot more of smaller detail due to more control and no concern for a blade thickness; percision, a nice finish to each cut line, and also cleaner tabs, which were easy to bend from the etched lines, and as I found looked nicer than the scored lines of the card cutter machine.

The laser cutted did leave a brownish edge and burn marks along the cut surfaces, but that gave the card a nice warm hue, which contributes to the light and organic aesthetic.

Unrolled Files

Fabrication

The panels of each strip were arranged into the shape desired and held together with masking tape so I would get an idea of how well this method of assembly would go. Still not sure about just how stable it would be and whether the curve would be symmetric and identical for each shape, I also did the same thing with taking a 'ring' of panels from the same level and fitting them together by their vertical tabs.

The 'ring' option of gluing the panels together helps set the angle of the joints and overall looks more stable. It is the favourable option of assembling the lantern.

Unrolling and cutting out entire strips of the outer and inner panels, as efficient as it seemed, was a poor assembly method. There was absolutely no set angle when the panels were being glued together, so the symmetry was distorted, and the strip itself was not even and did not hold the correct shape.

Not having the additional tabs inbetween each panel also had a negative effect on the stability of the structure – withough the additional reinforcement this prototype was very fragile and overall not successful.

Construction method prototypes

Each panel is carefully extruded from the sheet, and matched up with its inner/outer counterpart according to the label

The tabs are bent, and the panels folded within each other. Then, starting from the smallest triangles off the edge to set the angle, a layer of panels is glued together to form two semispheres. Gluing has been found generally easier with having a drawn outline to line the panels up gainst, seeing as getting the panels at the angle to each other is really important, otherwise the symmetry of the sphere will be distorted. Drawing a hexagon on a wooden board helped line the panels up and brace them against a horisontal surface until the glue dried. The quarters of spheres were then glued into semispheres, and the little ball was ready to have the wires and lighting put through it.

Assembly process

At first I wanted to have the light hanging in the very centre of the sphere, but I discovered that it mostly shone down and did not illuminate nost of the upper section as well. Shortening the section of the cord inside the inner sphere did the job, but so did leaing the wires along the bottom to the side to the top of the whole lantern.

The diagram of a light hanging from the top, and the lighting effect it produces. Still, the shadows cast on exterior surfaces were rather impressive.

The diagram of a more complex layout, and a close up of wires brought out of the interior sphere

Fabrication

Lighting & Wiring

For lighting, a single LED light was chosen to keep the light most concentrated and vibrant. This also emphasises the one source of energy from which it is gradually distributed, said source being the inner sphere. The LED light is powered by two AA batteries, the switch-equipped holder for which is hidden on the bearer's arm, and connected to the lantern via thin wires. The goal is to conceal as much of the technological elements as possible.

Fabrication

To ensure that the wires stay together and also to hide them within the interior section of the lantern, they are encased in a narrow white tube which makes them marely visible as well as compressing them a little.

The original lantern presented in module 3 – frabrication – had some significant issues regarding the joints – massive holes were left in between the panels (bottom right), not due to a lack of accuracy but to the 4 mm of cardboard that was not taken into consideration when the panels were glued together from two 2D pieces. To adress this issue, the entire exterior sphere was reconstructed using a different method – first, the outer sections of each panel (as seen on Pg. 8, section 1a) were glued together, with the angle at which the inner sections – 1bs – fit into the outer shall (left) already predetermined by the way the tabs of the outer sections connected. This allowed a much cleaner, less visible connections between ech panel, improving the overall aesthetic and neatness of the model.

For comparison – reconstructed joints (middle right) and the joints of the original lantern (bottom right).

The bottom section of the lantern is glued together

The connectors are then glued together and onto the bottom section. The interior sphere follows; the wires are lead through to the outside.

The original construction method then followed up with completing the lantern panel by panel from that point on.

Assembly process

The very tip is glued together first, as generally being the easiest in terms of setting the angle at which the panels connect

Finalised Lanetrn

The lantern held by the interior sphere

Side view

Detail of the panels

Top view

The visual effect of creating something translucid and delicate had been successful – the lack of sharp angles or triangulations as well as the thorough light peneteration prevents the lantern from loo-king heavy or overly desnse. The use of a sphere results in a very balanced and harmonous aesthetic, and the layering of the panels looks lovely.

Shadow effects

Front view Plan view Shadows on exterior surfaces

Panel detail, shadow & light

The shadows are really contrasting and saturated on all immediately close surfaces, , fading away into a more gengle glow on more distant areas. The shadows on the interior are also quite interesting. Except for the very outer section of the panels, everything else seems to glow from within, despite the aforementioned shadows, and despite there only being one light source, bright but not that powerful.

I hold in my palm a source of energy, a burst of light. It is both concentrated and vibrant – it almost hurt my eyes when I was figuring out the wiring. Yet at the same time, what I hold appears to be so very delicate, so fragile it seems that if I move my hand too fast, or squeeze my fingers too tight they’ll break right through the material, and the light will be extinguished.

There’s something comforting, intimate, even, about the way this conglomeration of energy sits in my hand, while my hand is enveloped by its bigger copy, lacelike shadows dancing on my skin. I previously would think that anything digitalised was bound to be full of sharp angles, distorted geometry, and an aesthetic either radical and boring, or unwelcoming in the matter it was industrialised in. My lantern is literally distorted geometry upon distorted geometry, inspired by digital images, produced by a digital program, burnt by a machine into artificial material, held together by a substance hardly natural. Yet it feels neither alien nor alienating – I’ve had time to bond with it actually, the translucid sphere becoming a natural extension of my arm.

The influence of the natural - the base pattern, the process of nature - can be detected in almost every element of the lantern. The openings of the panels themselves are a pattern, one that replicates a coral structure; the panels contribute to the growth of something greater, a form resemblant to that of a bone. Similar to how a skeleton supports another body, or how more and more coral dwellers continue their growth on the carcass below them, the exterior sphere seems to grow off the inner section, seeming to be a continuation of my own arm. Looking at the lantern from the top reminds one of the analysis of geometry that served as inspiration for the whole concept. It is not, however, only the visual aesthetic that my creation carried across from its precedents – if my hand does make an awkward movement or releases the light from its grasp, it will do no damage, but be met by a solid wall of material that at first sight looks to delicate. The structural features of skeletal growths clearly play their role – despite the efficient manner in which the physical space is utilised, clearly evident looking through tens of cell-shaped openings, the sturdiness and strength of my lantern, its ability to support its own weight load and beyond is impressive, once help up close, impressive even for paper. No fractures is not guaranteed, but paper does have its limits; an even more impressive structure could possibly be developed through the use of more solid materials, while creating even more intricate details – the efforts of SoftKill Design are proof of that. This is the undoubtable benefit of digital technology – where my own hand had slipped multiple times while cutting out the prototypes with whatever precaution, where there’s only so much that can be applied to a piece of plastic by hand, it is the repetition and certainty of digital technology and machinery that raises the bar of both out capabilities and ideas we conceptualise. Yes, we, for digital technology, in this case, is not the designer but a tool for exploring new possibilities, and bringing already conceptualised ones to life. I’ve taken my risks not working with physical matter and investing time and effort into something that floated in a dimensional space – I’ve made my design more resilient, more functional by learning off failures and mistakes – digital technology does not eliminate those. I hold my lantern gently, the light radiating from my fingertips – with care I exhibit towards a creation of my own, not a prototype effortlessly generated by a machine.

Reflection

References: -Airbus, the Future — publication of June 2011-Tooling, Aranda & Lasch, 2006

-Protohouse – Nicholette Chan, Gilles Retsin, Aaron Silver and Sophia Tang