virtual environments wearable lantern

Download VIRTUAL ENVIRONMENTS WEARABLE LANTERN

Post on 13-Mar-2016

212 views

Category:

Documents

0 download

Embed Size (px)

DESCRIPTION

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

TRANSCRIPT

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

    Mitran M Kiandee

  • MODULE ONE IDEATION

  • 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. Balls (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)

  • IDEATION experimentPOLAR PATTERNSA replica of the moon surface is created via collisions of plasticines on a layer of fl our. Using Kandiskys 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 moons 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

  • 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

  • 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.

  • MODULE TWO DIGITISATION

  • 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

  • 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

  • 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.

  • 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

  • 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.

  • MODULE THREE FABRICATION

  • 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

  • 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

  • FABRICATION prototype one

  • 2: Split tabs. Unspotted grasshopper mistake

    3: Dirty hands make dirty panels

    4: Unnecessary tabs

    PHYSICAL DEFO