virtual environments - module four

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  • Rovi Dean LauStudent No: 543495 Semeter 1/2012 Group 8Virtual Environments ENVS10008

    Module Four - reFlection

  • The Sound Wave Experiment

  • At the start of this module, we were tasked to choose a natural process to work and develop for our Lantern project. What made me inspired to choose sound waves as my natural process was what I love to do, music. The love for beau-tiful sound in music is un-explanatory. The won-ders about sound are that we cannot see them but we can hear and feel them. It creates this phenomenal feeling that one cannot explain but can feel it inside. Sound creates life, sense of freedom, sense of fear, sense of warmth, sad-ness and joy, light and dark. When there is no music, there is no life. It intrigues me that some-thing you love cannot be seen.

    In the reading of The Man Who Loves Fluids by Philip Ball, talks about how Leonardo per-ceive nature and how animates his drawings of flow by capturing its fundamental forms and patterns. Going back to my natural process, perceiving what sound waves are and how I am going to animate the principle of it was my challenge.

    In science, it cannot explain what causes this phenomenal senses and feelings, however it could show us how sounds are made.Principle of sound: Compression and Rarefaction (expansion) of molecules or particles in the air. It needs matter to travel.Sound waves cannot travel through a vacuum.

    research

    Sketches of sound waves.

    no sound, no liFe!

    Chapter One: The Sound Wave Experiment

  • sound Waves inFluencing solids and liquids

    As I went on to do more re-search on sound waves and how sound waves can be seen, I stumbled upon interesting finds on how people use different types of matter to create sound sculptures.

    From there, I used its form to mould and form my first con-cept on sound waves and how it would look like on a body.

    TopSound Sculptures; created by sound vibrating the liquid on a surface.

    TopSound vibrating particles to form shapes. Each pitch or frequency creates unique patterns.

    BottomConcepts molded by infuences from patterns and sound waves, compression and rarefaction.

    Chapter One: The Sound Wave Experiment

  • Mixed Used Development (In progress)

    Architects: B+U (Herwig Baumgarter & Scott Uriu)

    Area: LA, California

    Da Vinci Rotating Tower

    Architect: Dynamics Architect Group (David Kisher)

    Area: Dubai, UAE

    PaPer Folds

    Looking through precedents and sketches, I tried looking into different materials and try to form how sound waves could be seen. Making different patterns out of paper. Trying to find the relationship between materials and sound waves.

    TopPaper folds replicating sound waves.

    LeftSketches of development from precedents and earlier research.

    Chapter One: The Sound Wave Experiment

  • sound Wave concePtFrom many developments, sketches and moulds, I finally formed a shape that best represents what sound waves are in a lantern form. Sending out the message to the audience what sound waves mean and how it feels. Sound is pure, yet it gives different emotions and senses to different people. Repli-cating that feeling into a form was my challenge and I believe that this form replicates that phenomenal feeling.

    With its wavy like structure, fluid form and grabbing around the body gives that sound is part of us. Life would be empty without it.

    Chapter One: The Sound Wave Experiment

  • M a k i n g F r a n k e n s t e i n

  • Chapter Two: Making Frankenstein

    iMagination to digizitationThe challenge now was to rep-licate the form that I moulded out using plasticine into virtual space. I felt that it was im-portant to keep the shape as much as possible because if the shape is an awkward shape, it may bring the wrong sense of message to the audience. Key things that it should be shown was the fluidity and the holes which shows that sound waves disperse.

    At first I started out by mapping my first mould, however I figured out it was impossible for Rhino to loft 4 different individual curves at ones. That was the limita-tion I had to work around with. So I made another mould, but this time it was a whole piece. Mapped it and sliced it, man-aged to bring it into the virtual world. From there, I adjusted and manipulated the lofted surface to the desired shape. Twisted the seam curve and us-ing cage edit to keep the shape as close as the mould.

    TopThe process on how I put it into Rhino.

    TopTwisted the seam curve to give me that desired shape.

    LeftThe final outcome.

  • 3d Partition

    Custom 3D Panel

    Custom 3D + FinEdgesPanel 3D Pyramid 2 + Offset Face BordersCUstom 3D + Curve Attractor + Offset Face

    Borders

    Chapter Two: Making Frankenstein

    These are the few concepts that I had. Trying out which concept best suits my natural process as sound waves. When the audience sees this shape or form, it has to have this random shape formed with the feeling of violence yet peaceful or harsh yet quietness.Sound waves are not just about waves, different mediums give different kinds of waves.

    If it is loud and harsh, there will be big sharp sound waves. If it is quiet and peaceful, there will be round and gentle waves.

    concePts oF diFFerent shaPes

  • Finding the Pieces (Part 1)The Esplanade (Singapore)

    Architect: DP Architect (Singapore) & Michael Wilford & Partners, UK

    Completed in 2012

    Thinking about sound waves, The Esplanade is a place for music and per-formances which relates to my natural process, sound waves.

    On the roof, it has triangle panels to shield of the sun rays at a certain direc-tion. It has that effect where it looks open from the front and closed from the side.

    Analysing that pattern, I needed to show the audi-ence how different sound waves are in a form of a lantern, solid form.

    Once on the surface, I edited the points manual-ly to create the effect of compression and rarefac-tion of sound waves. I did not use curve attractors or other forms because I wanted random length of triangles, giving a compressed - explosive random look.

    Offsetting the face bor-ders are for the lights to illuminate.

    Chapter Two: Making Frankenstein

  • Evolver

    Architect: Alice Studio (grop of students from Ecole poly-technique fdrale de lausanne) zermatt, switzerland

    Completed in 2010

    The precedents gave me an idea on how I am going to create my twisted holes for my lantern.

    Once I panelled my surface, I ungroup them and deleted the panels one by one, creating a space for the light to illuminate out as well as manipu-lating closely to my plasticine model.This step was important in my design as we go back to my natural process and concept model. Because of Rhinos limitations where I could not loft 4 individual pieces together, this method was the best way to resemble my natural process as sound waves. It represents the rarefaction of sound, dispersing randomly and fading away.

    Finding the Pieces (Part 2)

    Chapter Two: Making Frankenstein

  • Thematic Pavilion EXPO 2012 Yeosu, South Korea

    Architect: SOMA (Austrian firm founded in 2007)

    Construction date: 2010 (completion 2012)

    This precedent gave me an idea for material and lighting for my lantern. It was impossible for Rhino to prototype the light, so I had to improvise by constructing a pyramid shape and using LED lights.

    At night, this pavilion has a light that goes along the walls of the building in a wave pattern. But what caught my attention was how the light was not striking but calm and relaxes.

    This relates to my natural process in a way where sound is not always harsh. It can be soothing and relaxing as well.

    To manipulate the effect, I placed the light behind a tracing paper which helps diffuse the harsh light and gives a soft light, creating a sense of peace and quietness. Letting the audience have that phenomenal sense the lantern is not harsh from the spikes yet having that comfort and peace in it.

    Another unexpected find was that it helps the lantern to glow as well.

    Finding the Pieces (Part 3)

    TopPrototype light effect of the triangle.

    Chapter Two: Making Frankenstein

  • Chapter Two: Making Frankenstein

    Final design - orthograPhic vieWs

    toP rightPersPectiveFront

    I learnt that in digital form, there are limitations it can go compared to freehand drawing or sketching or plasticine. There is a positive benefit I would say about using 3D software to fabricate objects is that it has more accuracy and precision to the tenth and hundredth than any human. Another benefit is that we can see our object in 3D before it is made, enabling us to manipulate and edit, which gives use a good judgment about the design before making it. In the reading Mathematics and the Sensible World by Dahan, explains that mathematics and and the world influence each other. And also in our lecture, Henry Seger-man also explains about how mathematics are all around us, and he shows us those obscure shapes which are actually formed by mathematics. This shows that within this 3D software, all of it is formed by mathematics. However, the mathematics in the 3D software could not create what my origial concept was but it influence me to push myself to work with the software and find an alternate way to create what sound waves meant.

  • I T s A L I V E !

  • TopPrototype of model - Scale (1:3)Material: White A4 paper 80gsm

    First BaBy stePBefore anything could fly, we must first learn how to crawl. I started by making a prototype of scale 1:3 with an A4 paper, 80gsm, of the head and the body.I needed to know which way is the best to unrol

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