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Module IVClaire Gabriel 584657 Semester Two Group 4

Process

IdeationChapter I

Design Chapter II

Fabrication Chapter III

Journey

Overview Virtual Environments

Reflection Chapter IV

“The road is never straight forward. There are always going to be surprises and sometimes there will be blind areas. This is the nature of the design process”. - Bharat Dave, Lecture 6

Dave made this statement in reference to a swiggle similar to the one below. The swiggle provides a visual metaphor of the design process over the course of Virtual Environ-ments

Conceptual Research

Ideation

DNA

“DNA is the a self replicating material that is found in all living organisms”.

- Oxford DictionaryThe twisting of the DNA provides a blended layering formed by the

twisting of entire facades. The twist of the DNA provides an aesthetically pleasing inspiration for my design.

DNA consists of two long chains of nucleotides twisted into a

double helix and joined by hydrogen bondsbetween the complementary bases of adenine and thymine or cytosine and guanine.

Left inspired from the reading by Ball and the week one lecture, I begun thinking of natural patterns and processes. One of the first patterns that

came to mind was coral inspired from a recent trip to the Great Barrier Reef. Coral with its wondrous colourful masses and branches, and their skeletal like forms have always interested me. Left dissatisfied I also experimented

with the idea of water diffusion but found both of these concepts were to literal. I began looking at processes that aren’t visible but occur naturally such as the replication of DNA. My third concept for my design was inspired

by the biological shape formation and process of DNA. The concept of DNA is a continuation of my research of the coral growth process.

“There is no universal theory of pattern formation in nature. Nonetheless, it has proven possible to identify many common principles, such as the universality of certain basic forms (hexagons, stripes, branches, fractal

shapes, spirals)” -Phillip Ball

Chapter I: Ideation Virtual Environments

DNA Idea Exploration

Above: Are examples of prelimnary sketches and a 3 di-mensional models exploring how DNA can be represented visually.

Above: Is a design by Yau Shen Chav an English student who designed it for a skyscraper competi-tion in Yen Magazine the design won third place. I appreciate the way the DNA although not that ex-posed has inspired the design.

Left: The designer CharlesJenckss, is an American theorist,landscape Architect and designer. Becausehe has worked as a critic and a writer before becoming involved with earth machinery Jencks theory is

“ I am aware that they are like giant works of art on a certain lev-el” - Ahead of the Curve 2011

The piece pictures is a 4.5m tall spiral in galvanized steel representing the DNA double helix. The work strongly reflects the rhythmic qualities of a double helix. The DNA Spiral is a dazzling futuristic landscape work of art that is completely original. His works are said to be unlike anything else on



As DNA was proving to be a to sizeable topic. I decided to improve the strength of my concept by considering smaller effects of reproduction. I was still not ready to let go of the concept of coral from earlier in the module. I was drawn to coral for two reasons: > Its wondrous colourful masses and branches, and their skeletal like

forms provide a platform of visual inspiration and aesthtic beauty. > The process in which the coral replicates.

Coral Reproduction Conceptual Research

Asexual Reproduction - Budding of polyps in within a colony fortifed exist-ing community.

Fragmentation - A section of coral falls away and establishes a new colony

Sexual Reproduction- Gametes mix to form planulae which disperse via currents and establish new colonies

After further research and at a more indepth level I became more interested

in the reproduction of certain typres of coral. Different types of coral replicate in different ways. I was inspired earlier by

the patterns of brain coral and decided to investigate its replication and was most suprised by what I found.

Above: Symmetrical brain coral releasing eggs during a spawning event in the Flower Garden Banks Nation-

al Marine Sanctuary

Below: Diagram illustrates the three ways in which coral reproduces; Asex-ual Reproduction, Fragmentation, Sexual Reproduction.

The reproduction brain corals are known as broadcast spawning. Reproduction brain corals are quite interesting with the corals releasing gametes, which are eggs and sperm, into the water. These reproduction brain corals allows for one

single coral to release thousands of gametes into the water at one time.

Most people think of brain coral is a plant. Brain Coral is actually an animal in the way that it reproduces sexualy it could almost be considered a living

animal. The reproductive process is quite simple but at the same time highly sophisticated and very efficient. The reproduction brain corals allow for brain coral reefs to begin all over the oceans, with the eggs and sperm

all coming from an individual coral.

Idea Exploration Coral Reproduction


Left & Above: Almagamation of the concept be-gun by joining the visual element of coral and the reproduction of coral. Two mediums of clay and sketches were used in various attempts to fuse the ceoncepts. The clay model is a visual representation of the above concept. It uses the anal-ogy of the spiting of the DNA in an abstract form. This idea effectively communicates the splitting of the DNA incorporating panelling created in the coral growth process

“DNA replicates and splits when hydrogen bonds between the two nitrogen bases are broken by the enzyme helicase”- World Book

Ideation Conceptualising

ConceptualisingTo represent this concept visually I wanted to integrate a streamline concept linked with the body. I wanted the visual design to have large spikes protruding from the design representing the individuality of each coral. Later the inclu-sion of light and various types to distinguish the streamline design linked the body and the protruding spikes.

Concept To amalgamate my two concepts I looked at the DNA reproduction of the pattern of Brain Coral. When Brain Coral replicates it creates a symmetrical pattern which is meant to mirror its par-ents. However what occurs is symmetrical patterns that in each reproduction are so completely individual even though all the chromosomes are the same.

ConsiderationsThe concept in visual form had to major problems associated with it. The design was a literal representation of joining of DNA with its twisting forms and of coral with spikes and as such was not representing the concept in an abstract way. The other issue is the com-plexity of the form which would cause issues when creating this form virtually.


Idea Exploration Coral Reproduction

Ideation Revaluation

Left: Is the refined model. I decided to take a drastic approach simplifying the entire design. The design was refined to be more supportive by looping around the neck. This is the design that will be put through Rhino, it does not include paneling. I feel this design abstract the replication of DNA in a non literal way is more effective.

Left: Details of how the model intergrates with the body.

Chapter I: Ideation

With further refinement an affec-tive amalgamation of the new concepts took form. The tube of the design shows Brain Coral DNA as the same and should create a exact replica however each one is slighty different. This individuality in the form is shown through the spikes protuding from each end of the form. To highlight this, different lighting is used in the two different segements.

Reflection Maintaining a balance


I felt that I would not properly be able to illustrate the beauty of water diffusion. I also found limitations of the coral growth process as after hearing Segerman speak I wanted to explore something less literal.Mathematical artist Harry Segerman ex-plained the process of using mathematics to create sculptures presented in the second lecture. The ideas presented in the lecture were closely related to Ball’s ideas. Passing the models around allowed us to see the complexity in the pattern of the three dimen-sinonal media. Segerman demonstrated the endless possibilities that can be found in non literal pattern.The second reading was by Clark Polling titled Analytical Drawing exploring Kandin-sky’s drawing techniques The drawings were created through a process of simplifying, analysing and translating.In this module I was able to look at the work of reputable designers and their work influ-enced my designs. Through the research I found many amazing architectural works that demonstrate how nature used as inspiration can results in some outstanding and striking results.

When I started module 1 I felt somewhat overwhelmed. To give me a sense of direction I begun by reading Phillip Ball’s, Pattern Formation in Nature, which gave me a sense of direction. Ball examines the existence of pattern and form in nature; he explored the mathematical ideas of Da Vinci and the technical and aesthetic possibilities of pattern. From the reading I was able to explore shape, pattern and form as building blocks to analyse natural phenomena that surround us.From Ball’s ideas I explored my first two conceptual ideas of the coral growth process and of the diffusion of water. I explored the possibilities of the through two and three dimensional media and sketching as well as gaging precedents.

Reflecting on this module I found the greatest challenge to be abstracting pat-terns and creating literal translations. As I discovered through the module there are no limitations to the degree of abstraction I could use I found this rather daunting maintaining a balance between abstrac-tion and literal representation. Moving forward I believe I have a concept that maintains a balance between literal and abstract. I am looking forward to the next phase as this first stage has left me in-spired.I realized there are certain limitations when modeling on Rhino and I have kept this in mind when designing.

DigitisingContour Mapping

Examining my model I considered the best way to digitise the design. I decided to use cross sectional dissection (contouring) combined with orthographic referencing to digitize my model. To prepare my model I began by taking a set of orthograph-ic images seen on the previous page to use as reference for my contours. To allow me to capture my model in Rhino’s three dimensional modeling.I used the prescribed tracing method for the main tubular part of the model. Certain formal and textural subtleties were lost in the process of digitisation. I was not deterred by the loss such qualities. I saw the digitisation process as a chance to explore new formal and textural possibilities, free from the rules and restrictions of the physical domain. I was working with a new set of digital limitations that were only defined by the extent of my technical knowledge. I had to acquaint myself with the interface and embrace digital tactility. The most succesful was following contour mapping of the design.

Chapter II: Design Virtual Environments

Below: Images of the process of contour mapping my design onto onto Rhino

Digital Manipulation From the outset I was excited by the potential of digital ma-nipulation. I experimented with control point and cage edit commands. My ability to manipulate the form effectively was directly proportional to my familiarity with the interface. As my knowledge grew I had greater control over the form of my model. Reflecting now I am happy that my model is not as coplex as the orginal design as with a three week period to digitise it I don’t think I would have been able to.

Final Model NURBS model


Above: A quick proto type of the model

Above: The final NURBS model with pannel grid on the surface


Left: Designed by Italian architect Filippo Innocenti, who specializes in fluid urban designs and digital designs. Innocenti’s Adobe Museum of Digital Me-dia is entirely digital. The museum’s central twisted towers are variably paneled. These panels gradually become more open as height increases, allowing for more light to enter and leave the structure. What inspires me about this particular design is it’s inter-action with light as well as it’s interesting panelling.

Below: I began experimenting with how I could use paneling to enhance my work and to bring out my original paneling design. To begin with I looked at basic two dimensional paneling forms (above). I experi-mented with a variety of densities and paneling some of the more interesting ones are above. I think that Tri basic paneling is the most successful of the these .

Triangular 2D paneling

Angular Box 2D paneling

Diamond 2D paneling grid Panelling

Experimentation

Diamond 2D paneling

Panelling Experimentation

Chapter II: Design Virtual Environments Moving forward after being satisfied f with the tri-paneling I begun to digi-tally enhance the model the model by placing the trinangular forms on the openings. The stabbing forms were of great importance to the outcome of the model from module 1.

Firstly, I attempted to used the technique of replicating thier forms using extrude to point and patch commands. This failed so then I used the pan-elling tools random height offset grid command which created symmetrical forms which did not have the randomness. I begun to do it manually which proved to be more successful creating a much more engaging pattern. Even though this was more time consuming it allowed for an improved outcome in the form.

Above: The left end.

Above: Screen Grap of completed design

Reflection

It has been said that the 21st Century is the digital era. This module has allowed me to explore this new age trend. I believe that digital media in design is not a replacement of traditional methods rather its an ex-pansion. One of my precedetns, The Adobe Museum of Digital Media is an example of the power of digital media. The building and design is entirely digital and is accessed through the Internet but still acts as a tra-ditional museum. The architect Flipo Inoceti explored ideas such as rooms with out gravity is this the future of architecture? The end result was more grounded but still explores the possibility of a structure that does not face a budget or environmental issues.

The first reading by Schuer and Stehiling explored the need for mathematics in architectural practice. The reading introduced me to new concepts of abstraction and reduction. Abstraction is about producing a mod-el that contains and idea with little effort. In contrast to abstraction reduction is not about reducing but about finding optimal ways to communicate an idea.

The second reading by five architects reviewed mate-rial behaviour in the design process. It was a very use-ful reading in module two. I explored one of the men-tioned structures further ICD/ITKE Research Pavilion (right) further as a precedent.

“A new digital continuum, a direct link from design to construction is established through digital technologies.”- Branko Kolarevic

Its paneling provided much inspiration for the paneling of my design. I apprecaite the way people can interact with the design and it is visually similar to brain croal.

The week five lecture was about philosophical designs, and the use of precedent and how precedents should inspire our new designs not dictate. The week 6 lecture was about pattern in architectural design presented by Paul Loh and was a continuation of the reading by Phillip Ball.

My experience of the module and the new digital media of Rhino has had endless complications. I have found Rhino limiting on the construction of my design. Despite these complications I have gained much satisfaction from using Rhino. Using Rhino was one of my greatest fears at the commencement of the subject. For the next module I must be careful that I do not make decisions purely based on what looks best but remember all the conceptual grounding underpinning each design.

The Powers of Digital Media

Chapter II: Fabrication Virtual Environments

Prototype Construction

Chapter III: Fabrication Virtual Environments

Below & Left: Images of the construction process of the prototype. Due to complications with the card cutter I made the model manually. I used Ivory white 300gsm to create the model.

Lighting Elaboration


Above: Roof installation by Visiondivision in a hospital in Stockholm. It is paneled from folded translucent panels and it up m LED lights. Three different types of pyramids from the paneling. There is open, semi open and fully closed each emitting different quantities of light. The light dispersal is controlled. There is less in open spaces but more emitted over the receptionist desk. What can be gained from looking at this design for my lantern is possi-bilities of the dispersal of light.

Left: Are images taken from a large amount of light testing of the quick proto type, paper sam-ples and the actual prototype during module 3. They demonstrate the different interactions of the light which was very helpful in the refinement of the design process. I purchased 6 warm LEDS to assemble in the prototype. To see how the light would interact with the shape and the paper. I found that due to the thickness the only light that was being admit-ted was through the gaps from untidy errors in the contruction process. The only other light that was being emited was at the ends. In order to have a brighter latern I decided I needed thin-er paper of about 120gsm. The prototype also helped me identify how much light is emitted and as my design is so much bigger in real form indicated, I would need a lot more lights to create the desired effect.

Reflection Proto Type


Construction As my design is relatively simple I wanted to make sure it was very neat and precise this proved difficult. I was constructing the model at a vastly smaller scale of 1:100. I was unable to construct the spikes at each end as the scale was too small and it would have been extremely complex. The thickness of the card was a problem, espe-cially in fitting together some of the smaller segments. The main issue I encountered was the central curve of the cyinder. > No part of the curve would fit together. >The thickness of the card was making it very difficult to work with. >From a design persepective it ruined the streamline linear shape that relates to the con-cept and is so integral to the design.

Card Cutter I chose to use the Fab-Lab to save time with my the process of creating the prototype. The card cutter was most appropriate for my design as I did not want burn makrs and it scored the paper. However there were several limiations as the card cutter only scored one side of the card and the card of the proto type being too thick at 200 gsm. It created tears in many of the folds. I then decided after to create my model man-ually as this gave me more control.

DesignThe central part of the design was the biggest issue. Viewing the physical form there was little rela-tion to the concept of coral growth and the neat symetircal pattern that was meant to be shown. The model also looked plain with out the spikes at the end of each opening.

I then went back to Rhino and made changes to the panelling of the central part of the curve mak-ing it simplier and having larger pannels.

I also want to use thinner paper as I believe it will be easier to construct with and will make the entire design very light delicate and far more neater.

Left: Examples of the poorly constructed cental part of the design.

Lighting As per the previous page the prototype allowed me to exper-iment with how the design used light. On examining the design it was clear that I needed to use far thinner paper in order for the LED lights to really give the glow that I was hoping for.


Master Guide Technical Documentation

Left: The surrounding nets show my initial unfolding using colour coding to identify the segments that will be harder to assem-ble. Because the design is simple a complex colour system in not necessary.


Technical Documentation Master Guide

Below: I numbered and tabed each of the panells and nested them into A3 sheets ready for printing. The central parts are coloured to remind me to take more care with this part.

Construction Time Lapse


Construction Ends


Above: Is a prototype I created to ensure that is correctly unrolled.

“Our office being one that lives in the strange inter-world between fabrication and creation and the implication and applications of this way of creating” (MacFarlane, 2005).

The above statement represents the place I was for most of this module and as my opening were closed over I begun to see the model take form which was extremely exciting and also very satisfying. Below: Shows the process of construction of creating the triangular forms.

Construction Lighting


As the goal is to create a lantern I found this part of the design very important. Light plays an integral part in the growth of the coral and I wanted to represent this as well as my orginal concept in the design. My original concept of distinguishing the DNA that creates the symmet-rical coral and what actually is formed which is individual illustrated in the spikes. I decided to use to different lights to create more of a visible design.

Above: Roof installation by Visiondivision in a hospital in Stockholm. It is paneled from folded translucent panels and it up m LED lights.

Right: Shows the amazing light patterns the ends creates on the walls.

The middle tube section would created using small LEDs. These LEDs admit a white light. The end points have a warm light created by using strips of bright LEDs placed below the spike openings. This represents the that part that the sunlight or we see the individual different part. To create this I used a circut linking the 6 white light LED and the strip of LED located in the ends. The circut needed 3 9 volt batteries to run all linked up to one switch this was a very time consuming process to create. My goal howev-er visually in the end was worth it. As a result of the paper the design due it its then paper admits enough light to light an entire room.

Left: The colour image provides clear evidence of the effect of the two different light types

Lighting Final Model

Coral Replication


“A new digital continuum, a direct link from de-sign to construction is established through digital technologies.”- Branko Kolarevic

Reflection Digital Media

Chapter IV: Reflection Virtual Environments

“An architects office is one that lives between a strange interworld be-tween creation and fabrication – of the implications and applications of this way of communicating” – Bren-dan Macfarlane

“We live in a digital age” - Steve Jobs

Virtual environments for me was a dis-covery of the interworld of virtual design. Having completed the course I can now understand both of the statements and the importance of digital technologies in de-sign. Design has changed drastically over recent year this statement can be support-ed by Rivka Oxman’s contention that digital design is better described as a process of constant ‘formation’ as opposed to a pro-cess of ‘form finding’. (Oxman 2008).

This shift to digital media I have found ex-traordinary and inspiring during the couse. Lyn states “You’d be surprised how much architecture looks to philosophy” (Lyn, 2000). This is so true when one looks at architecture they see aesthtic beauty and art with a function. Now after completing Virtual I look at architecture and can iden-tify mathematical patterns in architecture that I would not have notice previously.

Above: The Adobe Museum of Digital Media used as a precedent in module 2 demonstrates the extreme possibilities of the virtual world. Designed by architect Filippo Innocenti the museum is entire-ly virtual and accessed by the internet. During the design process Innocenti con-sidered as design that did not incorporate gravity. The actual design still just as out of this world has no budget, and does not have to realize aspects such as weather conditions and land. This design highlights Jobs and MacFarlane’s importance of an understanding of digital media.

Although my personal battles with the digi-tal media of Rhino have been rentlesses at times were disheartening. I can say after 12 weeks later and say how much I appre-ciate and value now and in future digital technologies in design.

Reflection Looking Back

Chapter IV: Reflection Virtual Environments

Reflecting on the course and the learning experience through out the semester can be related to the swiggle on page 1. The past 12 weeks were not straight forward they have been frustrating at timesbut I am left with a feeling of satisfaction.The past weeks have tested to the extrememy perseverance my time managementskills and the ability to over come challenges.There were times where i felt it wasimpossible but as I overcame each obstacle my confidence grew. Now at the end I am reminded why I love design, the sense of satisfaction that comes from overcoming challenges iin creating something unique.

Undertaking virtual whilst extremely challenging has taught me not only a completely new was to think about design but has also taught me aboutperseverance and commitment to seeing something through to the end. The course has taught me about how to useRhino, Indesign and Photoshop. It taughtme new design processes, new ways ofseeking inspiration through mathematics,science and philosophy. The course alsotaught me many things about myself. Itgave me perspective on time management,and perseverance. These I will take with me forever

Reflection Looking Back

References

Texts: Macfarlane, B. (2005): Making Ideas. In Architecture in the Digital Age, B. Kolarevic (ed.), Spon Press, London, pp. 182-197Gershenfeld, Neil (2005): Subtraction; Addition; Building Models. In FAB: The Coming Revolution on Your Desktop--From Personal Computers to Personal Fabrication, Basic Books, pp. 67-76; 93-101; 103-113Fleischmann, M., Knippers, J., Lienhard, J., Menges, A., and Schleicher, S. (2012):Mateial Behaviour: Embedding Physical Properties in Computational Design Processes, D: Architectural Design, Wiley, 82 (2), March, pp. 44-51.Ball, P 2011, ‘The Man Who Loved Fluids’, Flow: Nature’s Patterns, Oxford Univerity Press, pp. 1-18.Ball, P 2011, ‘The Shape of Things’, Shapes: Nature’s Patterns, Oxford University Press, pp. 1-35.Scheurer, F. and Stehling, H. (2011): Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 (4), July, pp. 70-79.Websites: The Paper Polar, Architect Online, Viewed 4th of October 2012, http://www.dezeen.com/2009/02/16/bermondsey-bike-store-by-sarah-wigglesworth/Hearst Tower, Forster and Partner, Viewed 5th of October 2012, http://www.fosterandpartners.com/Projects/Grobman, Y 2003, ‘The Digital Era- Revolution or Evolution’, Architecture of Israel Quarterly, October, pp. 10-12.Inside Installations 1999, Netherlands Institute for Cultural Heritage, Holland viewed 20 May 2012, <http://www.inside-installations.org/ artworks/artwork.php?r_id=147>World Architecture News, World Architecture News, Los Angles viewed 18 March 2012, <http://www.worldarchitecturenews.com/in-dex. php?fuseaction=wanappln.projectview&upload_id=12692> 1124/Default.aspx

Images: Page 3: DNA Sprial, edited from the department of Scince Victoria,Viewed 12th of October 2012, www.VicScinacne.gov.edu.auPage 4: Ahead of the Curve, DNA Scuplture, Emin, T 1998, Hearst Tower, viewed 4th October 2012, <http://www.saatchi-gallery.co.uk/artists/artpag- es/.htm>. Cook, I 2004, Starlet Coral, viewed 1st August 2012, <www.greatbarrierreef.com.au> Page 5: Coral Growth Process Diagram, edited, Sea World Educational , viewed 9th of October 2012 <www.Seaworld.com>Brain Coral, Great Barrier Reef, viewed 9th of October 2012, <www.greatbarrierreef.com.au> Page 7: Brain Coral, Amazing Underwater Images, viewed 13th of October 2012, www.images.amazing.com Page 12: Adobe Media Museum, Architect Online, Viewed 4th of October 2012, http://www.dezeen.com/2009/02/16/bermondsey-bike-store-by-sarah-wigglesworth/ Page 14: The Paper Palor, Architect Online, Viewed 4th of October 2012, http://www.dezeen.com/2009/02/16/bermondsey-bike-store-by-sarah-wigglesworth/

All other images students own photography, sketches, models and Rhino images.

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Documents

process of dna

concept of dna

dna spiral

replication of dna

dna double helix

design process

process ideationchapter

coral growth process