Projection

1The working progress has been evenly distributed.

- Scripting - Digital Modeling - Fabrication of Laser cutting files - Assembling of model

Report writing contributions have been clearly classified throughout the report.

Other inputs are mentioned below:

Vanessa Lin 8786618

- Photography - Report layout Emily Zheng 6926277

- Videos (Projection and Digital construction of The Hive

ulation of 5000 copies

Printed in StockInDesign Prnia: StockI

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CONTENTSPREFACE, 3

Chapter IThe lighting quality and materiality

I. Phantom, 4II. Multifaceted Cardboard Lamp, 5

III. When two come together, 6

Chapter II The process of design with digital technology

I. Prototype one, 8II. Prototype two, 10

III. Prototype three, 12IV. Prototype four, 14

Chapter III Projection (Lamp Series)

I. The Hive, 16II. The Nest, 18III. The Web, 19

BIBLIOGRAPHY, 20

3As the architectural language moves into the digital we gradually fade away from the traditions of hand crafting design. The generation grows to farmiliarise with the new technology and has become our tradition. With the advanced design technology of digital fabrication we explore and experiment the idea of harmoniously unifying the two techniques of digital and crafts together. In order to preserve our ancestral traditions we discover new processes of design. Digital technology is our standard tool in design but embodying aspects of the past gives the opportunity to explore new ideas.

Learning embodied in craft skills which developed over many hundreds of years which is enshrined in many of the heuristics of art and design training are now in danger of being jettisoned as digital tools become the norm (Frascari, Hale, & Starkey, 2007, p. 143).

PREFACEVANESSA LIN

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The multifaceted cardboard lamp was inspired by the lighting qualities of cardboard and the final form was achieved with the assistance of digital fabrication. The aim is to manipulate the cardboard in a variety of ways that showcases the natural qualities of cardboard. The cardboard has corrugated properties inside which has the natural ability to create unique soft fragments of light .

Phantom was a lamp project that was first inspired from the steam lines we see from a leaf that were then manipulated by digital techniques to generate its final form. The process of its form was made into a vector form that could be digital fabricated. Through the use of digital techniques (Rhino) it gave control and accuracy to the project while allowing the lamp to explore different effects. The effects it exhibited was chosen through a critical thinking of how the quality of different materials would affect its lighting effect.

The lamp explores the use of acrylic and polarized sheets. The two materials cooperate together to achieve a softened lighting effect with projecting patterns. The choice of material was very important, as it would define the characteristic of the lamp. The projection of pattern and diffusion of light was successful and reflected my initial ideas of the lamp. However, an aspect that affected the over quality of the lamp occurred during the laser cutting process where the edges of the acrylic sheets had a slight bend to its edges due to melting. As a result assembling the final form became slightly harder as a few of the edges no longer puzzled together perfectly.

In the first design process ,we as a group were fascinated with the lighting qualities and characteristics of each different material.

PHANTOMVANESSA LIN

ChAPtER IThe lighting quality and materiality

5Laser Cutting The process of assembling the laser cut files.

DESK LAMP

The clean patterns are projected on the surface of the wall with a soft diffusion of light.

PENDENT LAMP

As it becomes a pendent lamp the patterns become more blurred and diffused as it projects onto surfaces.

Phantom was a project that helped us to understand and explore lighting effects. The patterns that it iterated became an atmospherically element.

MULTIFACETED CARDBOARD LAMPEMILY ZHENG

The multifaceted cardboard lamp was inspired by the lighting qualities of cardboard and the final form was achieved with the assistance of digital fabrication. The aim is to manipulate the cardboard in a variety of ways that showcases the natural qualities of cardboard. The cardboard has corrugated properties inside which has the natural ability to create unique soft fragments of light .

bend to its edges due to melting. As a result assembling the final form became slightly harder as a few of the edges no longer puzzled together perfectly.

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The engagement with digital programs (Grasshopper and Rhino) allow me to create a hexagonal pattern that could be projected onto various shapes and critically evaluated. The parametric pattern added another quality of lighting alongside the corrugated cardboard qualities. However, the hexagon pattern was proven to be difficult to project onto a form with its complex pattern. The hexagonal pattern was most successful projected onto a simple cylindrical shape. The digital programs also allow adjustment flexibility to the apertures in the parametric pattern to inform critical decisions. Moving forward the natural qualities of cardboard is the key focus.

Corrugated cardboard quality

Soft fragments of light

The hexagonal pattern projected downwards.

The hexagonal pattern projected sideways.

Grasshopper script for the hexagonal pattern

Exploring different variations of forms.

7WHEN TWO COME TOGETHERTHE CONNECTION BETWEEN THE LAMPSVANESSA LIN

What the model was made for; what the model is made of and how the model engaged with time (Frascari, Hale, & Starkey, 2007, p. 232).

As we analyzed the reasons behind our models and the purpose of their experimentations we drew a summary of their effects and potential. As we extract key elements from these lamps we generate a series of qualities we desire to develop further in this digital process. The lamps were fabricated to experiment the qualities of its material to help us develop a clearer understanding of the potential lighting effects embodied inside them.

We extracted aspects to which we believed were most successful such as the layered twisted form and projected pattern effect composed from Phantom along side the projected corrugated cardboard effect achieved from the multifaceted cardboard lamp. When the lamps were lit we noticed how the atmosphere of the space would change as a result from the lamp. During the day the lamp became an ornamentation to the room but as it transitioned into the night it transformed into a light source that characterized the room with its projected patterns. Through time the fabricated lamps portray different modules (ornament and light source).

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From our experimented lamps (Phantom and the Multifaceted Cardboard Lamp) we have identified key aspects to which we believed were successful. Through this design process we began to unify features extracted from the lamps that we wished to explore further. Through the use of digital fabrication I experimented with different forms while preserving the key qualities generated from Phantom. The key aspect we wished to translate from the lamp into new prototype was the lighting effect of the patterns. On the other hand the idea of using corrugated cardboard was extracted from the other project as the material itself embodied a unique pattern quality. We was interested in how the two patterned effects would correspond with one another.

The use of digital techniques helped to generate a powerful geometric form. I began to imagine how these forms would translate into a pattern. The pattern

Concerned with the production of aesthetic experiences of space by examining the role of the imagination in relation to geometric powers of reflective thinking (Frascari, Hale, & Starkey, 2007, p. 262).

PROTOTYPE ONETHE PATTERNED WORLDVANESSA LIN

ChAPtER IIThe process of design with digital technology

9embodies the same elements from the previous prototype but explores different possibilities with its appearance. The experience of the space became an important aspect associated with the lamp. We then begin to realize how a lamp can change the atmosphere of a space. The qualities it gives to the room can change its environment. The lamp became its own element in the room. The patterns project onto the surfaces of the room and it introduces character to the space. The lamp becomes a decorative element and form of art. With influence from nature, the pattern portrays a resemblance to the flowers we see outside. The flowers become translated into the room as it brings the nature inside with us.

However, the patterned qualities from the corrugated cardboard no longer existed. The thickness of the cardboard became too thin and permeable.

Hanging LampWhen the ball is lit the patterns from all directions are projected on to its surrounding surfaces.

With the knowledge we have gathered from this lamp we intend to develop further by experimenting how we can incorporate the two patterned effects without loosing the other to harmonious bring the two together.

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Developing from the previous model this prototype experiments with the incorporation of an addition light quality. Additionally, the thickness of each cardboard layer is manipulated to bring back the effects and qualities of the corrugated cardboard. With our digitally constructed model we began to explore the traditional crafts skills of design. The idea on experimenting with a technological fabricated material verses a material that is more organic/natural. Although both were crafted from machine, the materials presented two different qualities. Digital fabrication has instrumented us in combining two separate materials together.

A double veneer 3D printed script of a hexagon pattern is placed inside the outer cardboard skin. The first 3D printed layer consists of a contribution of smaller apertures while the other has large apertures. With the combination of the two achieve a soft dispersal effect that in conjunction could work well with the corrugated cardboard effect.

The corrugated cardboard effect has the potential to be maximized. The prototype exhibits the experiment of trialing different thickness of corrugated cardboard. The various thicknesses were layered to a manner that would diffuse light differently throughout the lamp. The thinner layers became more permeable and allow light to shine through more intensely. The thicker layers then become areas where you would experience a softer diffusion. However, along the process of forming the lamp we began to see deficiencies as layers that spanned a thickness

PROTOTYPE TWOTHE 3D PRINT SKIN INSIDEVANESSA LIN AND EMILY ZHENG

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of more than 2 centimeters were no longer permeable enough to allow any light to transition through the card.

Moving forward we will look at translating the 3D printed qualities into cardboard to achieve a harmonious single material lamp. A continual experiment with the thickness of the cardboard layers is to be done in order to achieve the desired affects.

3D PRINTING The digitally fabricated skin acts as a simple pattern to experiment with its effect.

LAMP The lamp with the 3D printed skin cooperate together to project a distort patterned image. The light transfers through the permeable cardboard layers.

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Through the process of our lamp design we have developed our prototype by extracting the aspects that have been proven successful from our previous iterations. We began to explore how we could harmoniously bring the 3D print without the use of digital printing. With this idea we fabricated a double skin embedded in the heart of the lamp to project a seemingly continuous pattern that mimics the corrugated cardboard effect.

The translation of the 3D printed pattern was effectively achieved using cardboard. Through the use of digital techniques we composed a script written in Grasshopper that mimicked the corrugated cardboard effect. The composition of two patterns were digitally cut and layered to portray a softened holographic illusion. The use of cardboard allows for this smooth transition between the two features of the lamp. The developed prototype has effectively attained the desired cardboard effect that forms a well balance between the two qualities. When the lamp is switched on the light is filtered through the varies cardboard layers to give it a warm hazy glow and the downwards projecting a holographic illusion that provides a soft illumination to the room and slowly blends into darkness. The qualities the lamp presents are unreadable and unpredictable before it is switched on. The intention is to dramatically change the atmosphere and quality of the room so it becomes a space of wonder.

PROTOTYPE THREETHE TRANSITION OF THE PATTERNVANESSA LIN AND EMILY ZHENG

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We have now understood the potential qualities and affects the corrugated cardboard can achieve. The transition from the 3D print onto cardboard has been successfully achieved through this lamp. Through this process it has given us two qualities that we intend to develop further by maximizing the experience we get in a room with the lamp effects.

SCRIPTED PATTERN In order to mimic the corrugated pattern we generated a pattern that would resemble the wavy form evident in the middle layers of cardboard.

SCRIPTED PATTERNS INSIDE LAMPThe scripted patterns discretely mimics the corrugated cardboard. We see the comparisons between the two. Comparison with the 3D printed skin the scripted pattern is more defined.

After all who could give expression to music while his mind was full of Chapmans advice about the lips? So it is with design (Lawson, 1990. p. 7).

Interpreting this into our design, we treat the music as our cardboard. We have a clear objective that is the basis of our design: to explore cardboard at every different level. To be able to showcase cardboard as a materiality to the fullest we have to persist with the material. We use digital 3d printing to open us up to possibilities we initially couldnt come up with cardboard. However, once we have achieved a desired effect with digital printing we translate that back into cardboard.

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Through the digital fabrication of the previous iterations we have acknowledge our failures and preceded on with developing their success. We begin to emphasize on the aspects of the lamp that conveyed our idea well. Through careful study we have maximized the corrugated effect and holographic allusion objective for this prototype is to maximize the corrugated effect and the holographic allusion. This prototype will experiment with manipulations of different forms to achieve a greater array of effects.

In the tradition of orthographic drawings we follow a specific drawing technique that helps us to compose the final illustration. Mirrors like the orthographic drawing follow this constant idea of mirroring the object that stand before it. The orthographic drawing and mirrors are characterized as constantly repeating itself. The idea of repeating success the successful aspects from our previous prototype then give us a simple resolution. By repeating its form we fabricate twice its effect while

Lends us an easily recalled example of a form of representation-here the traveling mirrors- which, like the orthographic drawing, remains constant whatever its object (Frascari, Hale, & Starkey, 2007, p. 243).

PROTOTYPE FOURTHE EVOLUTION OF FORMVANESSA LIN AND EMILY ZHENG

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maximizing the corrugated effect. A new digital form is generated and mirrored onto the opposite end with a continuous transition from one end to another.

The form of a drop pendent is then fabricated while displaying a sense of balance within its form. The form covers a greater area in the hopes to maximize its effects through its corrugated elements. However through this evolution with its form we face problems with loosing the scripted pattern that was inside. The symmetrical tapered drop had a smaller opening on the bottom, which meant less of the effect projected downwards.

With the successful emphasis of one aspect of the previous lamp we lost the quality of another. The question then takes us to wonder how we can embrace both qualities without losing the other.

DROP PENDENT

The projected pattern from the corrugated cardboard.

SCRIPTED PATTERN EFFECT

The projected scripted pattern from the inside is lost.

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Projection is a series of lamps that explore the imitations of natural phenomenon. Our idea attempts to capture the assumed experience of being inside the natural phenomenon. The patterns projected mimic this experience by composing lighting effects that resemble the physical qualities of them. We attempt to capture this unattainable experience into the inhabitable realm. The series attempt to project the natural qualities of The Beehive, The Birds Nest and The Cocoon.

ChAPtER IIIProjection (Lamp Series)

Architectural design process involves the designer in making real material and physical links between abstract ideas and embodied experience (Frascari, Hale, & Starkey, 2007, p. 267).

PROJECTIONTHE NATURAL PHENOMENAVANESSA LIN AND EMILY ZHENG

THE HIVEVANESSA LIN AND EMILY ZHENG

Captivating the qualities through previous iterations achieved, our final objective is to integrate the corrugated effect alongside the holographic allusion. This hanging pendent focuses on emphasizing these two qualities in order to subtly activate the space. Through critical thinking we have generated a model that harmoniously integrates both qualities without losing the other. We have successfully embraced both aspects of the lamp into one.

The lamp takes inspiration upon nature and the structure of Beehives as a design strategy. Beehives internal center

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structure is the densest with close grouping of hexagonal cells, this area is considered to be the heart of the hive. Referring to our previous prototypes we have overlooked the importance of the middle section of the lamp. With this in mind we have chosen to place the holographic effect embedded in the central surface area in-between the corrugated effect for greater level of controllability. To unify these two different qualities, we have composed a model that discreetly fades light away as we move further from the center to the ends of the lamp. We have achieved this by creating a smooth transition of permeable spaces through the thickness variations of the corrugated cardboard and the scripted pattern.

The hanging Hive

The projected patterns illuminate the room and embody the experience of living inside a Beehive.

Analyzing the overall lighting qualities, for future improvements we could look closely at the connection between the two lighting effects to achieve a perfect continuity. While

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Video: Digital construction of The Hive (Grasshopper, Rhino, Illustrator).

THE NESTVANESSA LIN AND EMILY ZHENG

preserving the two unique qualities, the boundaries could be blurred to create a harmonious and unified lighting effect. Another aspect we could further develop is the different distances between the scripted patter, in order to achieve the best holographic outcome. Fabricating the pattern on cardboard could also offer a sinuous transition between lighting effects.

Through digital fabrication we have composed a table lamp that exhibits similar traits as The Hive. With the use of digital techniques we have composed and crafted lighting effects that explore the experience of living in a nest. Through our experimentation of our prototype models we have grasped the knowledge of controlling light. With this we generated The Nest to direct light to the above with our scripted pattern to mimic the sky. The light is emphasized to project upwards to provide subtle illumination to the surrounding table. The corrugated cardboard effect that is projected has clean edges. The two qualities of the lamp satisfy the needs and purpose of a table lamp. It introduces peace and elegancy to a space.

The circular form is selected as it presents a soft and comforting shape for a table lamp. The double-stacked circle is created to provide breaks between the corrugated effect and the holographic pattern. Its unique form transforms the lamp into an ornament. It becomes a decorative object to the table. Unlike The Hive, the design

https://youtu.be/r6pYld5rwCU

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SURROUNDING SPACEThe projected cardboard effect.

of the table lamp requires a break in between for breathing and space for the scripted pattern to dissolve. The open top takes you into the interior of the phenomenon.

DIRECT LIGHTThe projected ceiling effect.

THE WEBVANESSA LIN AND EMILY ZHENG

The Web is a wall lamp that puts emphasis on the corrugated cardboard effect, showcasing its natural qualities. It shares the same physical crafting techniques as the other lamps in the Projection series. The corrugated cardboard thicknesses are varied to add interest and drama to the light qualities. The light generates shards of light that penetrate on to its surfaces.

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Bibliography

Frascari, M., Hale, J., & Starkey, B. (2007). From models to drawings: Imagination and representation in architecture. London: Routledge.

Lawson, B. (1990). Introduction. How Designers Think, 1-7. doi:10.1016/b978-0-7506-0268-6.50005-x

The twisted hexagonal form creates web-like layers that surround the lamp. As it gets further away the web structure dissolves onto the surface. The diverging light qualities and the soft web-like effect works in conjunction to harmoniously blend into the space.

We tend to view computers as rather limited in their ability to think. We may recognize some of the things they can do like calculate and sort information, but surely this is a long way from the essentially creative process of design (Lawson, 1990. p.195).

To conclusion with Lawsons message, the use of digital technology is a great tool to compose quick iterations to advance the design. However, creative knowledge will always be most powerful. Throughout this project we have used digital medium to forward our design but critical judgment is based on physical experimentations.

THE WEB EFFECTThe use of digital techniques with controled varied layering of corrugated cardboard composes a representation of a spider web.

PROJECTION VIDEOhttps://www.youtube.com/watch?v=3EAM2kAXwZI&feature=youtu.be