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Student No: 581651 Semester 2/2012 Group 1 Virtual Environments ENVS10008 Mitran M Kiandee

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Compilation of Ideation, Digitisation, Fabrication and Reflection on the design process of a moon inspired wearable lantern

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Page 1: VIRTUAL ENVIRONMENTS WEARABLE LANTERN

Student No: 581651 Semester 2/2012Group 1 Virtual Environments ENVS10008

Mitran M Kiandee

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MODULE ONE IDEATION

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IDEATION conceptCRATER DISTRIBUTION Craters are created on the surface of the moon by asteroids, comets and other cosmic rocks upon col-lision. The moon has no atmosphere that protects the surface from foreign matter and thus encour-ages an irregular, unappealing and rough exterior. Craters will vary in shape and sizes as velocity, ma-teriality and surrounding environment changes.

The moon is inarguably a large component of the nightscape. Ball’s (2012) text encourages research as designers to be ‘activators’ that can modify, twist, bend, or distort a formal pattern or move-ment. This prompts an approach to decompose the moon, a natural element into its basic constituents and essentially seeks for underlying connotations through progressive sketches (Dave 2012a).

Although New York by Gehry did not correlate with lunar concepts, this masterpiece replicates an eccentric wave-like facade. The slight distortion in its regular fi gure is not only appealing but also has spatial functions (Nancy Packes Inc 2012).

This design concept provokes the focus of the plas-ticine form. The fi nal model in Module One adapts an organic shape that moulds with the body of its user, acting as a physical representation of the inner spirituality.

New York by Gehry interior New York by Gehry facade New York by Gehry building

Ideation progressive sketches

Experimental replica of crater formation (Vaikuntanathan, Kannan & Sivakumar 2010)

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IDEATION experimentPOLAR PATTERNSA replica of the moon surface is created via collisions of plasticines on a layer of fl our. Using Kandisky’s method from Poling (1987), new ideas transcend from the fl our texture. The experiment reveal trend lines where craters focus, deviates and intersect at the top left corner. This stimulates an approach on several various scales of the moon from a single crater crack all the way to an overall distribution of the moon’s surface.

The Kandisky sketches has allowed an intuitive outlook on the ‘abstract, essential and undistracted aspects’ (Poling 1987). The shadow features are reminiscent of cultural and traditional connotations from ancient tribes. The design adopts two main beliefs of the moon, being mysterious and super-natural.

In essence, the emergent model is an allusion of both the physical and intangible dimensions of designing.

Moon crater experiment

Simplifi cation Tension Transformation

Simplifi cation Tension Transformation

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IDEATION draftingDEVELOPMENTPencil outlines raw ideas, Rhino modelling shapes practical thinking, plasticine moulding crafts fl uid forms. The easy access to all three design platforms represents an unending struggle to balance aes-thetics and concept. Frequent adjustments are made in order to acquire features that extend from the surface entropy and cultural qualities as shown in the abstract fi gure below.

Sketches

NURB surface modeling

Plasticine drafts

Spore of craters

multi-scaled

Mysterious - Supernatural

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IDEATION fi nal form

Design DivisionDesigns are truly only ‘limited by the imagination’ (Dave 2012b). The fi nal plasticine form is a compila-tion of the crescent, the craters, and the rubbles interweaved together to emancipate not only a supernatural hope but also an enigmatic terror.

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MODULE TWO DIGITISATION

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DIGITISATION shapeDIGITAL MODELLINGThe plasticine is simplifi ed to ease the further pro-cesses. Further features are developed through panelling experiments. Contrary to introduced methods, the digitisation of this model has been assisted by AutoCAD which additionally improved dimensions and proportions. The exact measure-ments also allowed fl exibility with the use of layers and symmetrical scaling.

Computer programs are invented to assist not resist design process. Roudavski (2012) evokes the mindset of using programs, not to be used by them. Therefore, the virtual base selected to move forward with is intentionally fl at to accommodate greater exploration of the intangible spiritual conno-tations of the moon.

Outline made with Autocad

Aerial View

Right Elevation

Front Elevation

Left Elevation

Initial CAD outline

Idealised dimensionsLeft Elevation

Front Elevation

Aerial View

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DIGITISATION panelSIMPLISTIC ORIGINSThe panels are the epitome of the fi nal virtual form. Bharat Dave (2012b) in Lecture Two introduced the concept of fractals. This somewhat morbid art form has origins of extensive and recurring mapping of lines and geometry. The idea prompted an explo-ration of physical manifestation of craters. Minimal derivatives of size, shape, concentration, orienta-tion and texture of moon craters are produced in the forms of 3D blocks A, B, C and D.

Problems arise when a panel consists of too many lines and surfaces or when they are non-planar. KWANPEN and ‘Light Form’ both reveal a succinct exploration of opacity and luminosity of a shape (Warmann 2011; Pham 2010). Panels are recursively adjusted to achieve an ideal collection that ar-ticulates a rich texture with effi cient juxtaposition between dark and bright spaces.

Lecture 2 by Dave (2012b) triggered the shift to-wards simplicity of triangles. A triangle is the only shape that will always be two dimensional.

Thus, the developed set of panels (1, 2, 3 and 4) are products of merging the emotive ideas into a con-nection of triangulated and volumetric pieces.

A B C D

1 2 3 4

i. KWANPEN by Betwin Space Design in Seoul (Warmann 2011).

ii. ‘Light Form’ by Francesca Rogers and Daniele Gualeni Design Studio (Pham 2010).

i ii

1 2

3 4

1

2

3

4

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DIGITISATION optimisationREPETITIVE ITERATIONSIterations reveal a progressive improvement on the design. This procedure of ‘designing the process not the form to produce a family of forms’ has been motivated by Micael Hansmeyer featured in lecture 6 (Dave 2012c). The trials of populating different sets of panels on the base form reveal the importance of varying the options of expressing the main theme of the design. Computer generated inadequacies are later repaired individually to retain a slender proportion and to preserve the ability for the design to mould on its user.

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DIGITISATION trial productPHYSICAL TRIALSInitial prototypes are conducted to test the physical possibility of the design and explore material op-tions. Like Restaurant Georges in Pompidou Centre (Macfarlane 2005), prototypes are made to familiar-ise with the assembly process and test the position-ing of materials that would absorb and refl ect light.

The choice of merging black and white 220gsm cards serve to express an interconnection of dark-ness and luminosity within the moon cycle.

The material thickness also noticeably affects the opacity of panels. The tests driven from themes in ‘Material Behaviour’ by Fleischmann et al (2012) reveal the merits of 80gsm paper. Thin paper can glow to create an ambient atmosphere. However, they are inherently weak and will not suffi ce to independently support the heavy volume design. Thus, a compromise is made between thickness and material properties.

Extensive virtual light trials are studied in order to ascertain ideal positioning of light sources that will extend the idea of mysterious against supernatural properties into the realm of shadows.

Scored cut-out panel Panel connection

Virtual Light experimentation

Dual light direction

220gsm black card 300gsm black card

Illuminating panel with 80gsm paper

Panels without vs with light

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DIGITISATION fi nal shape

Front View

Back View

Left View

Back View

Top View

Perspective View DIGITALISEDOmnipresent challenges continue to be hurdles throughout the digitisation phase. Like a fl ock of birds, the crater panels have been separated, aligned and assembled in cohesion to form this unprecedented shape (Dave 2012c).

At the end of this Module, the form shifted from a solid component into a hollow matter consisting of a matrix of panels that are sporadically distributed on the body. This replicates the event of crater formation, focusing on orientation, size, shape and distribution.

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MODULE THREE FABRICATION

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REAPPROACHED LAYERINGThe unfolding process is the bridge that connects the physical realm and the digital dimension to-gether to form a tangible design. Layering the model in rings and then grouping them into chains of surfaces not only stimulates clarity throughout the fabrication process but has also accentuate preventable design fl aws that can be amended on screen.

Furthermore, the orderly breakdown generates an allowance for a compact template layout. The chains form either a single panel or fl at surfaces. This feature, together with an effi cient labelling system eases the identifi cation and assembly of panels. The panels are intuitively selected to be black or white and arranged on the template in a way where there is minimal unused material as encouraged by Fleischmann et al (2012).

FABRICATION unfolding

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Top

Bottom

A: laser cut B: Score and fold panels C: Connect panels D: Connect rings

CONNECTIVITYThe assemblage were separated into the top and the bottom, following steps A, B, C and then D. Fab-rication time is greatly reduced by following these formative steps.

FABRICATION assembly

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FABRICATION prototype one

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2: Split tabs. Unspotted grasshopper mistake

3: Dirty hands make dirty panels

4: Unnecessary tabs

PHYSICAL DEFORMATIESDespite being quite pleasant aesthetically, the pro-totype reveals several design and material fl aws as indicated in the fi gures 1-8. The line type in particu-lar causes the model to be fragile and tear apart at pressure points. Roudavski’s (2012) thoughts of reverse engineering are applied on the grasshop-per defi nitions.

As a result, the issue is resolved by ‘redesigning the process’ with a special dashed line type pattern (0.00, 3.00, 5.00, 3.00) as shown in fi gure 1a and 1b. This milestone fashions a mentality to learn many techniques that could be applied for larger scale future designs.

Kristof Crolla and Adam Fingrut’s ‘Golden Moon’ for Lee Kum Kee Lantern Wonderland 2012 integrates bamboo frames and internal light sources (Hong Kong Tourism Board 2012). Their central lighting and tensile material adaption are adopted into the fur-ther developed model. The new model has a core system that houses both the light circuit and the frail exterior.

Structural strength is enhanced through a further compromise of material 220gsm to 300gsm. Even though the material does not illuminate much, it has triggered a shift in the identity that the wearer will portray. The lantern will appear differently in dark-ness and in brightness.

The duality in its aesthetic nature redefi nes the emo-tional connotations behind the origins of the natural process; moon craters.

5: Distorted panel misfi ts. 6: Flaw with the dashed line system

7: Sensitive Glued edges. 8: Missing and extra tabs

1a: Fragile ends 1b: Sealed ends

Grasshopper tab settings for layers A to I 5mm widthJ to N 6mm width to accomodate different panel size

FABRICATION prototype defects

‘Golden Moon’ for Lee Kum Kee Lantern Wonderland 2012

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CURRENT RISKSAn electrical circuit is integrated within portal frame supportive structures. In Lecture 8, Loh (2012) classi-fi es lanterns as objects that comprise of an assem-bly of adjustable components. His claim acts as a reminder to extend the process of iterations on the light circuit. LEDs are strategically orientated to dis-tribute light evenly and differentiate between panel form and paper colour.

Testing the lights to their maximum revealed that Vmax=9V. By Using Ohm’s Law (V=IR), LEDs will shine brighter under higher currents driven by 10Ohms resistor. Therefore, to maximise the Power of the 9V battery, it is best to install LEDs in parallel pairs whereby each LED will receive 4.5V (refer circuit diagram).

Voltage in Parallel:VT=V1+V2+V3+...+Vn

Current in Parallel:IT=I1=I2=I3=In

Resistance in Parallel:1/RT=1/R1+1/R2+1/R3+...+1/Rn

The lighting effects, together with material and structural implementations fl ow through the con-cept of ‘mysterious vs. supernatural’.

Circuit diagram

With 3V With 6V

Hidden switch LED on ribs

Location of LEDs

Rings that outline panel grids

Actual circuit

FABRICATION lighting

Open heart surgert to install lights

Luminous panels

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MOVING FORWARDPrevious fl aws are noted and precautionary steps are adopted. With satisfactory amendments, the fi nal model is constructed with same the assembly process as before.

The fi nal artefact is a product of the compilation of ideas fl owing from the original ideation. Although multiple alterations are implemented within the aes-thetic form, the revolutionary creation has evolved tremendously in terms of performance and core ideas.

FABRICATION fi nal process

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FABRICATION FINAL MODEL

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MODULE FOUR REFLECTION

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MATERIALS AND REALISATIONSThe course of Virtual Environments has been an enrichment of conceptual thinking, technical applications, and adaptive solutions. The shift from one module into another is a huge leap into alternate design platforms. Every stage towards the end product are indeed learning blocks that would al-low designers to advance towards success.

Module one grows from raw ideas and interest. The ability to think is the central skill in this stage. Student designs are responses towards changing needs and conditions (Mitchel 2000a). The focus is on methods that should be used to convey the underlying concepts within the selected natural process. Ball (2012) has introduced a plethora of intricate details available in the universe. Chemical residual patterns in particular spark interest to analyse complex elements within a simple process of moon crater forma-tion. The more thinking applied, the more bizarre the design becomes. Mini-mal resemblance with the original form is a thing that could nerver possibly be foreseen. The wild sketches, illustrations, and modelings truly transcen and fl ow through the design process as chance draws the continual path of what the future design is to be.

The digitisation facilitates the lanterns development into a smart, attentive and responsive artefact. The technicality of Rhinoceros and other CAD platforms may be profound to many. Nonetheless, the ability to compre-hend functions and critically chose a tool that would serve best in terms of time and design outcome. This stimulates a sophisticated product from a simplistic process. Panelling tools have ultimately infl uenced the idea of craters. There could be times where the design is questionable in regards to its practicality and functionality. Rather than looking at the endpoint, the learning process of Module two implies a preference to adjust within a set of rules to eventually create something possibly ‘unimaginable’ (Dave 2012c). In essence, the digital realm acts as a facilitator between raw idea and remarkable innovation.

Programs are created to be used by designers, not to use designers (Rou-davski 2012). Technical ramifi cations can be easily resolved by undoing a step or two on screen, but cutting and scoring physical materials are permanent and irreversible. Module three is a test of a designer’s crafts-manship and instinctive choices. Much consideration of the physical mani-festation of the idea occupies the evaluation of light and materials. Con-structing lights in particular is a resurrection of past education. This stage of designing resonate the importance of knowledge and remembering them.

REFLECTION

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REFLECTIONFURTHER STUDIES AND FUTUREInventions require motivation to invest time and resources in improving it (Mitchel 2000b). The experience designing peculiar lanterns evokes an understanding about the importance of form beyond personal aesthetic credibility. The guided design process encourages designers to start with a solid foundation of initial key principles from a natural process. The choices that students make govern the fi nal outcome. Learning from this process, I believe that Virtual Environments shapes me well into a great design stu-dent and future professional architect.

The lantern parade is a fascinating sight. It is interesting to see students producing so many derivatives from same processes and materials. The amount of effort placed upon a single lantern through the course of twelve weeks has nurtured sentimentality on an inanimate object. People feel they have a personal stake in their creation (Mitchel 2000a). This unexplain-able emotion generates both a fulfi lling sense of accomplishment and a tranquillity knowing that the struggle is fruitful. This is an introductory experi-ence towards the becoming of a professional designer.

In retrospect, the emergent lantern design is a result of a big loop of ra-tionalisation, administration of tools and problem solving. These skills are in a package and the ability to exploit them would generate a professional designer that creates state-of-the-art inventions.

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Ball, P 2012, Pattern Formation in ‘Nature’, AD: Architectural Design, Wiley, 82 (2), March, pp. 22-27

Dave, B. 2012a, Lecture One: Introduction, Architecture, Building and Planning, The University of Melbourne, Parkville.

Dave, B. 2012b, Lecture Two: Imagining & Sampling Space, Architecture, Building and Planning, The University of Melbourne, Parkville.

Dave, B. 2012c, Lecture Six: Design Practices, Architecture, Building and Planning, The University of Melbourne, Parkville.

Fleischmann, M., Knippers, J., Lienhard, J., Menges, A., and Schleicher, S. 2012, Material Behaviour: Embedding Physical Properties in ‘Computational Design Processes’, D: Architectural Design, Wiley, 82 (2), March, pp. 44-51

Gershenfeld, N 2005, Subtraction; Addition; Building Models, in ‘FAB: The Coming Revolution on Your Desktop--From Personal Com-puters to Personal Fabrication’, Basic Books, pp. 67-76; 93-101; 103-113

Hong Kong Tourism Board 2012, Hong Kong Mid-Autumn Festival, Hong Kong Tourism Board, Hong Kong, viewed 23 October 2012, <http://www.discoverhongkong.com/nz/see-do/events-festivals/highlight-events/mid-autumn-celebrations.jsp>.

Loh, P 2012, Lecture Eight: Fabricating Spaces II, Architecture, Building and Planning, The University of Melbourne, Parkville.

Macfarlane, B 2005 Making Ideas, in ‘Architecture in the Digital Age’, B. Kolarevic (ed.), Spon Press, London, pp. 182-197Mitchell, W 2000a, Software: New Genius of Place, in ‘e-Topia’, MIT Press, Cambridge, MA, p. 42-68

Mitchell, W 2000b, Replacing Place, in ‘The Digital Dialectic’, P. Lunenfeld (ed.), MIT Press, Cambridge, MA, p. 112-127

Nancy Packes Inc 2012, New York by Gehry at 8 Spruce Street, Nancy Packes INc, New York, viewed 23 October 2012, < http://www.newyorkbygehry.com>.

Pham, D 2010, Light Form: gorgeous Wood Wall Panels Flip Up to Reveal Light, inhabitat.com, El Segundo, CA, viewed 23 October 2012, <http://inhabitat.com/light-form-gorgeous-wood-wall-panels-fl ip-up-to-reveal-light/>.

Poling, C 1987, Analytical Drawing, in ‘Kandisky’s Teaching at the Bauhaus’, Rizzoli, New York, pp. 107-132

Roudavski, S 2012, Lecture Nine: Augmented Spaces, Architecture, Building and Planning, The University of Melbourne, Parkville.

Vaikuntanathan, V., Kannan, R. & Sivakumar, D. 2010, Impact of water drops onto the junction of a hydrophobic texture and a hy-drophilic smooth surface, in ‘Colloids and Surfaces A: Physicochemical and Engineering Aspects, Volume 269, Issues 1-3, p. 65-74.

Warmann, C. 2011, Kwanpen Boutique by Betwin Space Design, Dezeen Magazine, London, viewed 23 October 2012, <http://www.dezeen.com/2011/01/11/kwanpen-boutique-by-betwin-space-design/>.

REFERENCES