MODULE 4 HOLLY SAUNDERS 583535 TUTORIAL 7 : SEMESTER 1/2012

IDEATION

Carbon Levels

Permineralisation

Organic Decay

Sedimentation

Compression

Sedimentation

Permineralisation

Carbon Levels

Organic Decay

I investigated the way petrified wood occurs in nature.

As seen in Fig 1.1 to the right, a tree falls and over time is covered by soil that forms in layers around and over it.

water seeps into the layers of soil and soaks the log depositing local minerals collected from the surrounding soil. these minerals form in the decayed pockets inside the tree and eventually replace all organic matter from the inside out.

I found that the permineralisation process was a gradual process that occurs over a long period of time. The time it took to form was based around the moisture in the soil around the felled tree, the minerals in that soil that would seep into the tree in that water and the rate of decay of the tree itself.

Because of the sedimentation I realised that the tree would be compressed under the weight of the surrounding soil where black deposits in the wood were the build-up of carbon.

The key indicators determined once the tree had been felled were:

- Compression - Organic Decay- Carbon Levels- Sedimentation- Permineralisation

I experimented with ways to represent these concepts using various methods.

Compression

Fig 1.1 Above shows the process of permineralisation

PermineralisationThe explanation of mineral deposits as being the light itself, was a natural progression in the process of visually representing permineralisation.

In figures 1.2, 3 & 4 my experimentation with Quartz and Agate. the translucent minerals are often found inside petrified wood.

This is how pattern specific lighting was conceptualised in my model.

Fig 1.2 Fig 1.3 Fig 1.4

Fig 1.5 Fig 1.6 Fig 1.7 Fig 1.8

I also experimented with the idea of light hitting the area around the model and forming patterns. In Fig 1.9, 10, 11 & 12 Experimentation involving refraction of light off paper covered with glue caused a patterned effect on the wall.

I was able to determine that shape, texture and colour affect the effect of light refraction. apart from experiments with light I needed to determine the shape to best suit the organic nature from which these mineral deposits form. To explain, when the minerals form in place of decaying matter, they still take the form of the tree circles. To represent this natural occurance in the lantern; where the minerals honour the organic shape, I had to choose an organic representation of the holes for the light.

Fig 1.9 Fig 1.11 Fig 1.12

Fig 1.10

Permineralisation

Permineralisation Precedents Etruxes ArchitectureMy greatest source of inspiration came from sources such as Etruxes Architecture’s tapered Circles as seen in Fig 1.13 and 1.14, and David Trubridge’s Three Chairs of Wisdom installation as seen in Fig 1.15.

The circles in their model were aestheticly pleasing and circles are seen as more organic than an angular shape, organic just like the concentric circles that remain in the cross section of the tree.

Etruxes Architecture Fig 1.13

Fig 1.14

David TrubridgeDavid TrubridgeFig 1.15

The effect the light had on the surrounding area was important in communicating the mineral depositation.

In Tapered Circles the light behind the model actually creates patterns on the ground as the light passes through the gaps. To a greater extent Chairs of Wisdom actually portray varying patterns which help distinguish the three paths of wisdom. Chairs of Wisdom also helped me challenge the shape of holes in my lantern around decay and the way I had chosen to represent Carbon - coupled with the graph of the Radioisotope of Carbon 14 in decay.

I started with angular holes in my prototype and later developed those into circular holes that would appear in my final model as a result.

Permineralisation Precedents

Decay & Carbon 14Decay & Carbon 14Decay equates to holes, deformation and negative space which was so closely related to the Carbon Portion that most of the time the two were tied together.

The graph for Carbon Decay over time inspired the use of the gradient as a shape incorporated into all the subsequent models and concepts that eventually arrived at the final outcome.

in Fig 2.2 and 2.3, the change from a harsh angular concept similar to minerals and took on a more organic and curvatious quality which was then incorporated into concepts such as in Fig 2.4 and 2.5.

As much as the circular holes were meant to represent permineralisation, the negative space through which the permineralisation is evident; are actually intended to represent decay.

Fig 2.1

Fig 2.2 Fig 2.3 Fig 2.4 Fig 2.5 Fig 2.6 Fig 2.7

These precedental sketches and the paper form in Fig 2.7 would assist in the final design by providing an overall shape in which to develop the other concepts of Permineralisation, Compression and Sedimentation.

In Fig 2.5, 2.6 and to a lesser extent 2.7 the intention was to display decay as something that happens most at the bottom of the gradient.

Because of the presence of carbon in the wood is black and decay is often associated with black, the model is also made of black card.

The carbon graph’s curve was used in the final model as the overall shape while black card was used as a symbolical representation of the presence of carbon and decay.

SedimentationSedimentationFig 3.1 Fig 3.2 Fig 3.3

In order to express sedimentation effectively the implementation of layering was explored to represent it.

In fig 3.1, 2 and 3.3 various forms of layering were explored before being discarded.

what was actually used was a layering form that sat on top of itself. These were stepping stones that aided in arriving at this concept.

I explored further layering effects in plasticine before moving on to a roughly constructed paper model which I then shone light through.

Of the models I made in clay, Fig 3.5 would actually be incorporated to some extent into my final model. The layering in this clay model was very similar to the layering intended in Fig 3.1 and it has a rough gradient like that in the Carbon graph. I didn’t like the aesthetic properties of the model in Fig 3.5 but it would lead on to the right concept that i would incorporate.

In Fig 3.4 I explored incorporating decay into layers and also started to experiment with different size holes in different sections which indicated where on the graph of carbon decay that stage of the model was actively representing. this concept of larger and smaller holes was used in my final model in the layering.

I also experimented with layers in compression in Fig 3.6 and 3.7 however I was not satisfied with them in conceptually or on an aesthetic basis.

Fig 3.4 Fig 3.5 Fig 3.6 Fig 3.7

Further Exploring Sedimentation, a model was crafted with the intention of demonstrating layers that aid in communicating the concept of minerals from within through lighting.

I cut out 4 sheets of white A4 paper and made a hole in the centre. I placed them in tiers on four columns of paper made like the piece shown in Fig 3.8. Next, two thin slips of paper were fed into the model while resting on different tiers. then with the lights off the model was placed over a lamp and illuminated.

The effect was beautiful. A curvacious organic looking shape was formed on the ceiling.

This would later help me develop an external pattern of light around and above my model.

Curvacious patterns of light were splayed across the ceiling... inspired, I wished to incorporate the layering of my final model in such a way that it gave off intricate, yet decidedly organic shapes from the light of the minerals inside.

Fig 3.12 Fig 3.13Fig 3.11Fig 3.10Fig 3.9Fig 3.8

Mercedes MuseumSedimentation PrecedentsSedimentation Precedents

Ingrid SiliakusIngrid Siliakus Mercedes Museum

Shigeo FukudaShigeo Fukuda

Ingrid Siliakus layers her work with precise incisions that she folds to create intricate masterpieces. I learned that shadow and light flow in patterns that are interesting and overlap when more than one shape is close to another or runs over both a horizontal and vertical plane.

Shigeo Fukuda has some incredibly inspiring work when it comes to layering. his pieces such as the in Fig 3.15 look like nothing more than a pile of rubbish, but when light is applied at the right angle the layering all comes to gether to form the intended scene. I learned that through my layering I could portray what I wanted by forming the shape of my model in such a way that it would cast desirable shadows and rays of light as i intend it.

Fig 3.14

Fig 3.15

Fig 3.16

Fig 3.17The Mercedes Museum was constructed by the Dutch Architecture firm UNStudio and is a prime example of the modern and irregular pattern that can be adopted in architecture. The reason this stood out as a precedent for this project was the way light is cast through the levels. each portion of windows is segmented by the angular columns that supports the next level. They are not a truss, but a design feature that reinforces the angular window. I learned that I can segment my model similarly.

CompressionCompressionCompression was something I envisioned for my model that wasn’t represented visually but rather in the way the structure bore its own weight. Because of this I did not determine any visual aspect and did away with it mostly. Of all the stages to do with the petrification of wood, I felt that compression was the least important. Most of the compression in this process came from the sedimentation that built up around a felled tree.

A table below in Fig 3.18 was created to account for all of the design principles that I had uncovered:

Because of this the only aspects of the model that actually represent compression are in the layers themselves, where the joins must compress in together to hold the overall shape.

Fig 3.18

Jorn Utzon

Fig 3.19 Right:

Fig 3.20 Below:

The final design chosen takes the shape of the angular minerals vertically, as well as the overall gradient found in the rate of decay on the graph of the Carbon 14 Radioisotope. It seemed like a logical progression to introduce tiers and allow the horizontal portions to display the light up the vertical rises.

Holes introduced to the sides would indicate decay and permineralisation, while a model of black card would indicate decay and carbon deposits. the tiers would be compressed due to shape and angle required to hold this shape. The organic shape is evident in the curves along the tiers and the missing portion in the centre indicating the decay has eaten away at the wood.

One thing is missing. the pattern effect the lights should have on the surrounding area. It would have to be explored in depth later on in the process.

As seen in Fig 3.19, the arrows indicate the variety of concepts that helped construct this shape. From the Red arrow indicating the organic curve in the tiers to the Blue Arrow indicating the sedimentation evident and then to the Green arrow which follows the gradient of the curve to show carbon presence. Because of this I was able to determine placement of Holes and their sizes, just not the shape of the holes as yet.

Fig 3.21 Right:

I received the inspiration I needed from Jorn Utzon’s Sydney Opera House, as seen from the harbour in Fig 3.21. The layering and progressive size became the perfect precedent for my work. The Sydney Opera House was also inspired by an organic form: the peel of an orange.

Jorn Utzon

DIGITISATION

With the model I had made I drew lines to fragment the tiers. The reason I did not section it horizontally was to avoid irregular curves that are not easily identifyable. There are different gradients for each tier and being on such a slope, it is hard to distinguish which piece would belong to what. Vertical sectioning seemed most logical as it allows the compressive qualities of the model to form accurately.

After cutting the model in half to find that it was entirely symmetrical I looked at the possibility of the tiers extending to the ground on the inside.

My idea was to have att he columns reach the ground as presented in Fig 4.6. Then, on the first column, especially at the base it would be largely decayed, which would mean the presence of large circular holes as specified by the table. the ensuing levels outwards would have smaller holes and the frequency of them would also be less than the layer prior.

The effect would have been shadowing inside the model, however, only a little amount of light would have reached the area around the model if at all. This idea was also beyond my ability to manifest in Rhinocerous and therefore untested with a physical model to prove the flaw of its design.

Fig 4.1 Fig 4.2 Fig 4.3 Fig 4.4 Fig 4.5

Fig 4.6

I attempted to try making the design in Fig 4.6 nonetheless. My limited understanding of the options in panelling tools made it especially tricky to get the result I was after.

I found that layers would intersect and cause problems.

In hindsight, There is no easy way to construct a multi-tiered item unless the inside was divided horizontally according to tier. Also to unroll and construct it effectively the layers above the bottom tier would have longer inside portions and shorter outside panels where they would connect via tabs to the level below on the inside rim. If I had considered this possibility, then its possible i would have constructed the model in this way instead.

My first attempts at trying toconstruct the form I had in mind, while learning how to integrate the panelling tools into my form are displayed through Fig 4.7 -10.

I did not take my model into rhino as a jpeg but rather went straight into constructing it from ellipses rotated along the y axis from the frontal view.

It took me a couple of tries to get the form perfect, and the best way to do that; I found, was to drop the inner ring below the level of the outer ring

Fig 4.14 - 4.23 represent the 2D panelling that was explored for the project to see how the panels best fit together.

Fig 4.7 Fig 4.8 Fig 4.9 Fig 4.10

Fig 4.11

Fig 4.12

Fig 4.13

Fig 4.14

Fig 4.15

Fig 4.16

Fig 4.17

Fig 4.18

Fig 4.19

Fig 4.20

Fig 4.21

Fig 4.22

Fig 4.18 was the best surface texture and was chosen for my prototype.

Fig 4.23 Fig 4.24 Fig 4.25

Fig 4.26 Fig 4.27

I unrolled my project many times.

The first time it was unrolled there were no tabs, just the panels themselves as seen in Fig 4.23. I was too unfamiliar to attempt to attach tabs with grasshopper at this stage, so technical limitations and further conceptualising lead me to consider the shadowing effect and use the tabs from neighbouring panels to help me construct the model. In Fig 4.24 I layed the unrolled surfaces out around the model and was able to then ungroup, dupe layer, remove all double ups and select which panels to cut and score.

Once I had completed that process I took the largest section and arranged it on the card, then resized it and all the others until it too up most of the 600mm height. All pieces fit together on 2 cards. for the sections with the holes in them I did not use tabbing and I set two of the three sides to cut while the other one would be scored. this would help me fold the pieces then lay them out flat again to cut them as there were some very narrow folds around this section. At this stage only the back portion and centre of the model were meant to emit light.

In Fig 4.26 is a close up of the back portion of the model, specifically piece #7. The middle triangles are the actual face and the external pieces that jut out are intended as tabs.

In Fig 4.27 I have revised my model and unrolled it without holes in the panels, instead opting to place holes on the surfaces after they were unrolled.

Fig 4.28

Fig 4.29

Fig 4.30

Fig 4.31

After constructing a prototype there were many valuable things I learned about my model which will be covered as I review it in the critical analysis later.

These lessons involved how the model fit together, whether the holes were complementary of the concept or not and raised questions about lighting and negative space.

Because of these questions I devised a new section of the model.

I created a base and elevated the centre portion in line with the ascent in the outer layer. Fig 4.30 shows my attempt. I then panelled it and came up with the result in Fig 4.29.

I also considered alternatives to the panelling I had selected previously, and embraced a box 2D panelling option to see if i would get better results from what already seemed to be square panels in my previous attempt to unroll the model. My new consideration for panelling can be seen in Fig 4.31.

After attempting to unroll the model in Fig 4.31 I found that the pieces detached and overlapped one another, which became especially obvious after inserting tabs in grasshopper. Fig 4.32 shows this error in a join.

Fig 4.32

The setup for my final model included six pages of cut outs. The tabs were scored along the lengths and only the sides of each tab were set to cut.

I also drew circles and elipses and placed them on the unrolled forms of pieces 1-13.

I also decided that placing these circles over structural folds would enhance the patterns the light would create around the model.

I intended for the tabs to create ribbing inside the model for aesthetic and practical purposes. This is why there are tabs around every edge meant to join another surface.

the tabs at the top of pieces 1-13 were deleted as they do not join any part of the model.

I also chose to change from white card to black card which I felt was more representitive of the decay and the presence of carbon in the petrified wood.

The black card would also greatly emphasize the light which made the permineralisation more apparent. This opaque card only strengthened my design concept by bringing these qualities to the overall design.

FABRICATION

The first model I constructed was this prototype. Using glue to piece together the surfaces I found that not only did they attach poorly but also that the glue was of poor quality and neither dried quickly, nor stuck the surfaces together cleanly unless a lot was applied and time allowed for the join to dry.

Time was not something I felt I had enough of so the joins were not the cleanest. Despite using a brush to spread the glue thinly and evenly across the tabs it still got all over my hands when I pressed the tabs down to secure them. This left unsightly patches.

Fig 5.1

Fig 5.3

Fig 5.2

Fig 5.4

Fig 5.5

Fig 5.6 Fig 5.7

Fig 5.8 Fig 5.9

After completing the construction of the model I tested the lighting.

Because of the way the tabs were set up in rhino there were some parts that were not secured and light shone through unintentionally.

The rear of the model was a great success as seen in Fig 5.6 and 5.9. The light shone onto the roof in patterns demonstrating a series of triangular and rectangular shapes that represented the permineralisation inside the model.

The inner portion of the model shown in Fig 5.8 had a mass of light where the negative space represented a cavity of decay.

There was a lot of structural integrity in having unrolled the model vertically as opposed to unrolling it according to the tiers. This was something I would carry through to my final model.

I did want to change the tabbing and make sure that the light spread evenly through the model as I didnt like the inconsistend shadowing effect. Not only was it irrelevant to my design concept but it also seemed to cause less of a direction for the light. The focal point and permineralisation was based on the designated holes from which the light should be shining. To have light falling out of the walls of the model where there were supposed to be seams just made it look incomplete and damaged.

The model also had a lean to it. Structurally there were some flaws with the rear holes as they did not interlock with each other and so the model lacked support and rigid shadowing. I thought that the model appeared most flimsy in that area which made me reconsider the positioning of the holes and their size.

I also arranged them in the wrong shape in this model which I would resolve in the next one. the bottom level was meant to have the large circular holes to take into account the organic matter that is decaying and giving organic shape to the minerals. The top level was meant to have small circles as there is less decay up the top of the carbon radioisotope graph than there is at the bottom of it.

The only other thing that I would change for the next model was the scale. the final model was a fair bit larger.

Fig 5.10 Fig 5.12Fig 5.11 Fig 5.13

After the prototype I was able to get a better idea of how to connect my model together properly. The tabbing explained in the final portion of the digitisation section of this report explains the ribbing effect I would apply to avoid unnecessary shad-owing, overlooked joins and poor connections due to poor quality glue.

The sheets were cut and scored appropriately with the holes removed from the panels and all but the angles of the tabs scored for bending and to keep the pieces intact for transportation as seen in Fig 5.10.

The arduous task of cutting each panel from the sheets began first with the base which I labelled with orange sticky tabs ac-cording to panel number seen in Fig 5.11.

The outer portion of the model was labelled with pink sticky tabs and left until I had assembled the base. Of all the assem-blage of this model I actually found this part to be the most enjoyable. In Fig 5.12 I am assembling the tabs before securing the top portion of the model. A scalpel, metal ruler, A3 scoring pad, scissors and sticky tape were my chosen tools as this por-tion was not intended to be seen.

In Fig 5.13 the finished base is observed with the tabs ready to attach to the outer sectioning of the model.

Fig 5.14 Fig 5.15

Fig 5.16 Fig 5.17

Fig 5.18

Before I placed the panels around the base I wired up the underside with a battery pack and lights.

In Fig 5.16 I have placed a plug fitting in a hole made in the side of the structure. 4 other similar holes were applied and plugs inserted to sit the light comfortably.

In Fig 5.17 the light sits comfortably over the plug.

In Fig 5.18 the wires from the lights are separated to hold the light in place in the plug and a resistor is at-tached to the positive line from the light. Five red and five black wires were cut and the ends exposed to connect the lights to the battery pack.

Once the lights were all wired up, the battery pack was secured in the base using the black piece of card shown in Fig 5.15 and the lights were tested as seen in Fig 5.19 and 5.20.

In Fig 5.21 I had a mild panic attack as I realised that the panels did not match up exactly with the base panelling. They did however fit to the fold before the edge. I proceeded to attach the panels to that portion thinking it could be salvaged, though by the time three of these had been attached I realised I had one more panel of the outside than I did, these base folds. I took the remaining pieces from the others side and lined them up around the model. Sure enough, the pieces matched although some of the folds would overlap with the bends in the base model.

Unfortunately by this stage the glue had set. I was forced to remove the glued pieces by the tabs with the scalpel which left an extremely rough and unsightly edge. The holes in the panels leave these glued tabs visible. There are no words to express the dissapointment I felt in that moment. Because of the cost of the model, the cost of the wiring and lighting and the long queues with the Fablab I was unable to organise a new model in time.

I proceeded to construct the model as planned.

Fig 5.19 Fig 5.20 Fig 5.21 Fig 5.22 Fig 5.23

Fig 5.23 Fig 5.24

Fig 5.25

Fig 5.26

The model itself worked out really well despite the hiccup when applying the first 3 panels. I did find that the panels did not sit properly when I glued them unless I attached both a horizontal and vertical section at the same time as there was too much tension and weight in the pieces of card. Then, once they were attached they had a tendency to only connect partly as the strain and weight on each section would force the joins open. There were other structural challenges that I was faced with including bowing and buckling along joins where the holes intercepted structural angles in the card. The overall integrity of the model remained intact despite this.

Next I reassessed the underside of the model as seen in Fig 5.27. I pulled away all the wires and soldered all the joins between the positive line and the resistors in each light fitting. Next I attached and souldered the red and black wires to each of the fittings and then wrapped them together neatly with a portion of flux.The attachements to the battery pack were then souldered and hidden with an arrangement for the battery pack. I created a box with left-over black card and secured the battery pack in the centre for easy access to turn the lights on and change the batteries. I then attached the box to the underside of the model with new panelling and the use of double sided tape. The result was a neater underside and a secure power supply with easy access for maintenance.

Fig 5.27

Fig 5.28

Fig 5.29

Fig 5.30

Fig 5.31

Fig 5.32

Fig 5.33

The final stage was a light test.

In the darkness the patterned that formed were circular and overlapped.

I felt that my inspiration from David Trubridge and the Sydney Opera House were most evident in this stage.

The five lights themselves are visible and are the gems in the wood themselves. the decay and carbon casts shadows from those minerals and the effect is the permeation of light and mineral throughout the wood and surrounding area through the sedimentation that is the layering.

The permineralisation in this way was a great success!

REFLECTION

The Models would have inevitably been a lot more successful if I had made more of them. With each ensuing model after a mistake, a person can gain a feel for what works and what doesnt to create a masterpiece through trial and error.

both time restraints and limited funds kept me from pursuing this venture of making and remaking models. The black card model which sits roughly 700mm high at its highest point and over 800mm in length cost in excess of $150 with just under a third of that going to the cost of the card itself once it had been cut.

Many of those costs were one time only and so in order to manufacture such a lantern on a large scale the price would be fairly expensive once profit and material costs were taken into account, but still affordable.

another thing to take into account is the necessity to reinforce the panels that require holes along structural bends.

If I were to choose a preferred material to have made this in it would be a black plastic, quite possibly polyurethane as it is easy to dye, mould and is durable. It would also be safe for electrical connections inside the model. The plastic is also cost effective to obtain and readily available in large quantities.

There were a lot of defects in the forms from buckling, to structural instability that lead to forms sitting at an angle impossible to simulate in Rhino.

In Fig 6.1 the prototype experienced deformity where a tab was not included and that caused other panels to fall away and create a rippled effect down one side of the inner rim. This was unsightly and structurally unsound.

Overall I do love the form, the concept and the effect the lighting gives off. I believe that in remaking the final model I would have fixed the unforseeable defects and chosen double sided tape as opposed to glue to connect the tabs. I was also much more satisfied with the ribbed tabbing.

Fig 6.1

Fig 6.2Panels sat out as opposed to in as they were supposed to along the inside rim.

Fig 6.3Panels buckled and deformed due to the weight of the card and an unforseeable lack of structural support where a hole was placed

REFERENCESTitle Page:http://www.trade-oracio.com/Images/tranche_bp_1.jpg

Fig 1.13,14:http://www.etruxes.com/architecture/tapered-circles/

Fig 1.15http://www.examiner.com/images/blog/EXID20412/images/David_Trubridge-Kete.jpg

Fig 2.1:http://www.frankswebspace.org.uk/ScienceAndMaths/physics/physicsGCSE/bytesize%20images/carbonDatingGraph.gif

Fig 3.14:http://freshome.com/2012/01/19/detailed-paper-architecture-by-dutch-artist-ingrid-siliakus/

Fig 3.15:http://28.media.tumblr.com/tumblr_lifp6cUWvP1qi0ax6o1_400.jpg

Fig 3.16,17:http://www.mercedes-benz-classic.com/content/classic/mpc/mpc_classic_website/en/mpc_home/mbc/home/museum/impressions/mercedes-benz_museum/exterior-view/slideshow_museum_exterior_views.html

Fig 3.21: http://www.johngray-seacanoe.com/images/gallery/australia/sydney_opera_house_australi.jpg

Fig 5.12:Photo taken by Summer Grimmet.

All other photos and backgrounds are by the design of Holly Saunders #583535. Photos taken throughout weeks 1-12 Semester 1 2012

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