V i r t u a l E n v i r o n m e n t sD a r c y Z e l e n k oM o d u l e 3 - F a b r i c a t i o n , w e e k 1 0P r e s e n t a t i o n

1. Define origin points2. Geometryof equal scale emanate from the above points at an equal rate3. As geometry grows continuously bigger itwill start to interfer with itself, like ripplesin a pond4. Constructive/deconstructive interferencewill lead to the creation of new geometry

Emerging Form

I constructed my full scale prototype using a ‘strip’ method. The benefits of this method was that I could glue pairs together, then move onto the enxt pair while the former dried.The downside was that the when it came to put them all togeth-er, some warping occured from the drying of the glue and it was a little messy.

This assembly image shows how the outer shell of my lan-tern comes together. Instead of using the same method I used in the prototype, I decided to construct this one by creating a series of layers that would go directly on top of each other with a crown piece made up of four segments.While this method was a little more time consuming, it al-lowed me a greater control over the structure as a whole.

This also came in handy because once I assembled the base, it allowed me to fully construct the inner orb before moving to the outer layer.

Crown

Middle layers

Bottom layer

Fabrication Files

These are the lineworks I sent to the Fab lab to be cut.While it is important to nest linework as much as possible, it is often more efficient to err on the side of caution and leave some room to breathe. What also must be re-membered is that some cut lines should be left as etches to stop geometry from being caught up in the mechanical arm.

I had to include a blue layer for my triangular patterning as it required a slightly deep-er etch than usual.

The CNC card cutter and laser cutter are great tools for todays designers to have. They take advan-tage of the things that computers are really good to do things that human beings aren’t accurate at doing.This can lead to huge increases in efficiency due to rapid prototyping and gives designers more time to devote to the design process.Our lantern project can be used as an example of how some of these processes can be employed to save time and increase design content. If I had to individually cut and score every single one of my lines, I’d never be able to get anything finished. And as our tutors are trying to get us to see de-sign from the bigger picture in an architectual context, there’s no point in having a whole class simply made up of students demonstrating the many ways to cut a piece of card.

With the speed that the digital fabrication industry is moving, next years students might be 3d printing their lanterns. 3d printing is a process where a computer operated machine either constructs something layer by layer (out of fine particles mixed with resin) or chips away at a large mass to reveal the final product.Currently, these machines are at the same level as personal printers were in the nineties and with the coming years they will grow more powerful and affordable.

With regards to the lectures i really got a lot out of Ben Gilbert’s lecture decribing some of his works and processes. he illustrated the point that despite someone being able to design something perfectly in a program like Rhino, when it comes down to actually making the thing human beings will always have a large part to play. Building materials undergo many changes along the production line and our openess to adaptaion helps us dramatically to identify problems as they arise and find effective solutions.

I used the above idea quite a lot throughout the process of my design. Things go wrong and it takes a keen mind to make it right. For example, in the design of my final lantern, I ‘over-designed’ some of the supports thinking that they were necessary when half of my support design was enough. This over-design had to be ripped out during the build as it was proving complicated to construct.