Group: 9Student Number: 556416

Virtural Environments, Semester 2, 2012. The University of Melbourne

Mengying Jiang

Modure 4: Reflection

Ideation

Slam Dunk

A player jumps in the air and manually powers the ball downward through the basket with one or both hands over the rim.

Natural Process

The idea of slam dunk might sounds a bit abstrcat; however it is a natural process which occurs in lots of places. People like to playing basketball, and one of the thing that they are trying to get is the ability to dunk. This is considered a normal field goal attempt.

The slam dunk is one of the highest percentage shots one can attempt in basketball as well as one of the most crowd-pleasing plays. Slam dunks are also performed as entertainment outside of the game, especially during slam dunk contests.

In addition to the basic one- or two-hand forward-facing dunk, there are a variety of other dunks. Alternatives to the classic dunk require varying degrees of athleticism and the force from different part of the body. ( see 1.1 Dunk Diagram )

Thus, knowing a little basic physics can still help us improve our game.

Slam Dunk

1.1 Dunk Diagram

Development

Physics of the slam dunkForce can change the object motion state (hand change basketball movement state)Internal energy into mechanical energy (from start to jump)Kinetic energy into gravitational potential energy (jump)etc

Body parts involvedTimeline of dunkOne popular move is the jump shot. But many players release the ball too soon and miss the basket. One of the most important things is that the ball really needs to be released right at the top of the jump. At that moment, the player isn't moving -- his velocity is zero. Releasing the ball at the top gives the player better control of the ball and making it more likely that he will make the shot.

Famous Dunk -Vince Carter Dunks on Frédéric WeisThis is widely considered as the greatest dunk of all time. ( 2.3 Dunk Moment ) It was the 2000 Olympics and Vince Sanity and the Americans were facing off against the French squad. Frédéric Weis is a famous French player and stands 7 ft. 2 inches tall. On this particular play Carter storms in and steals the ball then he jumps completely over Weis and throws down with one-hand. His hang time is unmatched as he fly’s through the air. It almost looks to be in slow motion and his head is at the rim when he dunks.

2.2 Mind Map

2.1 Diagram Mapping: Dunk Movement

( 2.3 Dunk Moment )

Development

3.1 Dunking moment separated in parts

3.2 (a) (b) (c) (d) (e) (f) The origin of the comcepts.

3.2a

3.2b

3.2c

3.2d

3.2e

3.2f

The 2D abstract sketches adopted the idea that I have set out. I start off with a simple rectangle and later move away to use more movement to represent the extent of forces around the body. (see 3.1) And I asked my friend to show the movement whendunking(see3.2).

4.1f

4.1a

4.1b

4.1c

4.1d

TwistingDuring the movement of body when dunking, the forces are gonna be around the body at anyplace, just like twisting. (see 3.3a)I

RotatingAs far as I found that the forces around the body would not be in sequence, so I changed to rotating. (see 3.3b)I

StackingAfter I used rotating method, I thought rotating so circuitous is not good. I tried stacking by boxes. (see 3.3c)I

Smothing Apart from three sketches before, I also tried to make the surface more smooth. It shows the forces around body when a person is running and preparing to dunk.The power used less in the middle part of the body and then is hands. Feet are running with hugh power at that time.(see 3.3d)I

4.1 (a) (b) (c) Form Options-Sketch Concepts

4.1e

VisualizationI wanted to make my sketches more visualize. It looks like a person who is holding a ball when dunking, isn't it? And ofcourse, at that moment, the hands need to hold the ball as well as they need to swing due to running. Aparently, it is more power on this part that time. (see 3.3e)

StretchingWhat I consider most at last is the dunking moment, which the time of a person jump and tring to dunk in the basketry. So the forces form absolutely is going to change. The hands are more powerful at the moment, and then waist of the body need to pay attention to keep balance in the air which casue feet use least physical strength. (see 3.3f)

Development

4.1 (d) (e) (f) Form Options-Sketch Concepts

3D plasticine models are made to have different views of how the actural designs will look like and hence the models can be digitised in Rhino. And I can see the effect that both models create then I can compare both of them to decide which one I will choose to be the final one.

Development

Option two-StretchingOption one-Visualization

5.1 Orthographic views: Concept Model-Option one 5.2 Orthographic views: Concept Model-Option two

After I take the step back and had a look at the sketches I have drawn. I dot two options for further development. Option one (see 4.1e) and Option two (4.1f)

Precedents Analysis

Since the force around the body when slam dunking is a nature process, which cannot see by our naked eyes. The challenge I was facing were to find a way to capture the form of forces. As I have already got two options (see 4.1e and 4.1 f), I had two precedents as consult.

Another example I have looked at was Japanese Haneda Airport Terminal 2 in Tokyo. To many foreign architects, Japan provides an opportunity to try out different styles which they wouldn't be able to try out at home. This is related to my Option two, it also gave a rise to the concept of how to make my digital model in software Rhino 4. in addition, I actually got the idea that why don't I turn this building over to represent the forces around the body when dunking. I did so. That's how my sketches and model came from.

6.1 'helix hotel' by leeser architecture VS sketches

An example that appealed to me was 'Helix hotel' in abu dhabi, United Arab Emirates.

The reason why I used the this as the precedent is that it is similar with my Option one which is also irregular and had some samll rotation on it. This hotel actually gave rise to an idea of how I can do it by digital in software Rhino 4, lines and curves level and level.

6.2 Haneda Airport Terminal 2 VS sketches

Reflection

Within module one, I have faced many difficulties and challenges. At the start of the module, I seems to get really confuse interms of how to distinduish the difference between a natural process. In addition, I really learned a lot from module one. I learned how to abstract drawing through in nature through Analytical Drawing(see 7.1), got to understand the formation of patterns in nature (reference reading: Kandinsky). In last semester, I’ve learned how to do perspective drawing, but I still had no idea of how to draw abstractly. From the readings, learned three stages of analysis drawing which are simplification, analysis and transformation. I learned different kinds of views from the readings as well. However, it is really helpful by looking at the past examples. The lectures for module one also led a start of analysis different types of nature processes. While research the three nature processes. For example, to find the function of continuous actions by human made me understand how the actions move and how the rotate happened. Then I can develop my concepts based on this. In addition, making the research with pretty much idea or a concept with me is a useful way to move further. I learned a lot through this process, and developed my concept further and can view my project from other perspectives to make them better.Furthermore, In the reading, Philip Ball explains how they are typically formed through simple, local interactions between many components of a system –a form of physical computation that gives rise to self-organisation and emergent structures and behaviours. This reviews some of the common patterns found in nature.The article ball mentioned the structure has a counterpart on the coast of Ireland: the Giant’s Causeway in County Antrim, where again one can see the extraordinarily regular and geometric honeycomb structure of the fractured igneous rock. (see 7.2)

There is an example of spontaneous pattern formation.We now know that no intelligent agency is needed to create the patterns that appear profusely in both the living and the inorganic natural world. These organised arrays of elements arise spontaneously from the interactions between their many component parts, whether these are chemical reagents that react and diffuse, small particles or molecules that cohere into clusters, propagating cracks, wind-blown sand grains or flowing liquids. Such patterns are said to be self-organised. Their scientific study comprises one aspect of research into so called complex systems, which typically show emergent behaviours that cannot be deduced or predicted by a focus on the properties of the individual elements.Therefore an endeavour that unites many disparate fields of science, from zoology to fracture mechanics, and from chemical kinetics to sociology.

7.1 Bella Ullmann-Broner. Analytical Drawing, 1929/30(C.162)

7.2 Ball reading image

Design

Digitization of Option one and two

For the digitization, I have used the contours method to get my physical plasticine model into digital form in Rhino 4. this seemed most appropriate and accurate since my plasticine model has a solid form. I could trace out the lines, curves and contour in Rhino 4, using the tool of pictureframe. What I did to put all the contours into the right place is to create a central point. Then I need to move all the contours ready for lofting. Nevertheless, after I loft them part by part, I figured out that it was all a mess. Random folding and twisting were all over the place. That was not the same one of the oringinal model I got and this model no longer demonstrates the natural process of the forces around body when slam dunk. What I found to overcome this problem is to create less cpntrol points. So that I redo all the contours and redraw them with less points. Then I finally got a similar digital model.

8.1 contour map & picture frame

8.2 curves & loft in Rhino 4 8.3 contour map & picture frame 8.4 curves & loft in Rhino 4

Refinement of Option one

9.1 Model " in use"

Refinment

After I have got the similar digital model, I took a step back to see what I have actually done. I jumped out of my natural process.in order to not only satisfy my natural process, I decided to change the shapes of circle to the octagon.

Comparing with the

precedent (see 6.2 )9.2 contrast

9.4 Digital model after refinement

Top

Front Perspective

Origin perspective model

9.3 lines &curves

Panelling of Option one

10.5 Dubai Dynamic Architecture

I tried to turn the 2D pattern into 3D pattern by using Rhino in Module. And the outcome is so complex as showed that would take long time to build the physical model. When I unroll the model with original patterns, it cannot come out with any pieces. I cannot do the model with the circles, soI need to try more simple way.

Intermediatehollow out

After I tried the circle pattern, I tried another shape, the pentagon. As I have to make the models for this pattern, it actually too complex to make, as well as to unroll. As we can see that it was too messy to recognize the surface. (see 10.3)

Wether meet the concept: no

stereoscopic

Wether meet the concept: no

10.1 Option1 Panelling a

10.3 Option1 Panelling b

10.2 reason why panel like this

10.4 reason why panel like this 10.6 reason why panel like this

The world’s first building in motion, the revolutionary Dynamic Tower is created by Visionary architect Dr. David Fisher. It will adjust itself to the sun, wind, weather and views by rotating each floor separately. (see 10.5)This give building gives me an idea of how to panel the model I have. The simple shape of each floor can be used for my panelling, the rectangle which can actually represent the top and bottom edges of a basketry. (see 10.6)

Final Design of Option one

The original patterns are designed to be connected by separated ring surfaces. To develop them, I adopted the folding method mentioned before to keep my 2D outer pattern still, and leave rectangle holes on thesurface to let the light go through. In order to show the idea that the size of baseketry change depending the baseketball dunked in. And use rectanglr instead of the circle.So I divides the outer surface into two parts to using two types of patterns. A big rectangle with another small rectangle inside. The effect of lighr go through the lantern will be wonderful. (see 10.6)

11.1points 11.2 panel costom

11.3 3D model top, perspective, front and right

Top Perspective Front Right

Panelling of Option two

When I considering which panelling method might be suitable and most appropriate to my ideal design, there is a point that the light should go through the pattern. The digital things are actually not easy for me. Firstly, I created the panel grid points, and then I got prblems of offset points. All the points which should be surround the model came inside the model. It was annoying. After I setted a surface on the top of the model, all problems gone!

I am interested in the ‘No Man’s Land’ which shortlisted in the Architectural Association’s Environmental Tectonics 2007 competition. (see 12.3)

It helped me to think about hoe to panel the model I got. This let me try to give edges to the model (see 12.4) and only panel the part witch coloured as blue.

12.1 panelling I tried with 2D grid and custom

12.2 (a) (b) 3D custom panel with explaination of the custom

12.3 No Man's Land, idea of panelling

12.4 Edges

Wether meet the concept: no

Wether meet the concept: no

12.2a

12.2b

Top Front Right Perspective

Final Design of Option two

With my final design I decided to use 2D panel as it can not only suit for my purpose of letting the light go through the model, but also vary in terms of the surface. As well, I do not think circle or box might be suitable and the circle will too hard for the cutting in next step. Furthermore, I decided to make some eadges around the top of the model (see 12.4). Moreover, I did not panel every part of the model with the custom (see 13.1) and panelling part by part(see 13.2). Well, this is my final design for option two.

13.1 Explaination of custom

13.2 Points for panel & the effect of panel part by part

13.3 The final mode- top, front, right and perspectivel

Reflection

Through this module, I can see that the focus on this module is how to transfer the analogue form to digital. The main idea I have got is that how important the digitalization is in the world at present. I had found Module 2 extremely difficult, not only due to the frustration with Rhino but also how to maintain the original form of my model for option one.

Digitalization is also a new aspect of design for me; I have made models before but not like this method. Panelling is fun but at the same time make you very frustrated. Even though I have tried to make my model more smooth surface, there still too many curves that sometimes the panels would fold and twist crazyily.nin order to overcome this issue, I tried a lot of ways to figure it out even have to go back and loft my contour again in different way. However, I do enjoy the fact that I can make my own 2D or 3D panels. Unfortunately I had spent too many time on digitising the models and run out of time to try more panelling. Finally I chose the panel which all meet my need for the concepts. (see14.1 &14.2)

In addition, I found it is interesting the lecture is. As well as it is a great helped to get a grasp of precedents in terms of design through to construction as opposed to just visually and for inspiration.

For both readings, In my opinion, abstraction is building a model by reducing the complexity of the real world model to a level where it can be described or constructed with manageable effort. While reduction is to reduce the amount of information and finding a optimal way of transporting the model without rewriting the description and forming it into real life. I think this is fairly similar to what Poling talked about in his reading. The steps of Kandinsky have correlation with what Scheurer said, by simplifying the whole design to one overall form at the construct the design or drawing as precise as possible. Secondly, by making clear tensions discovered in the structure and principle tensions by means of broader lines or colours indicating structural network by means of starting or focal points. Finally, by translating or interpreting objects in terms of tensions and forces, which allows users to create it's design. To sum up, in module two I have learnt so much that useful for my studying and making models. Rhino is a great software anyway, but it is still confused me for a long time, and cannot get it right.

14.1 panel for option one

14.2 panel for option two

Fabrication

Precent Analysis

The Niterói Contemporary Art Museum (Museu de Arte Contemporânea de Niterói — MAC) is situated in the city of Niterói, Rio de Janeiro, Brazil, and is one of the city’s main landmarks. It was completed in 1996. Designed by Oscar Niemeyer with the assistance of structural engineer Bruno Contarini.

15.1 Niterói Contemporary Art Museum & analysis

The biggest concern of fabricating my digital model into a physical form is that it can hold up its own weight. Since paper is the only material I can use, I am really worried about my model might cannot hold up itself due to the "big head" of my model. Just like the picture I showed. This in terms of the idea of how to make the model. (see 15.2)

foundation

foundation

15.2 diagrams of anysis both options with precedent

Unrolling I choose to use the strip method to unroll my model, this would not only make it easier to fabricated but also give the model an extra support. Before unrolling, I decided to put the model into different layers and give them a colour coding (see 16.1), as well as differnet labels (see 16.2) to make it easily when come to unrolling and physically constructing the model.

16.3 Unrolling for Fab lab16.2 Unrolling with labels

16.1 unrolling with different colouors

Prototype

Manually Constructed Partial Prototype

Since my 1:1 model would be bigger than half a meter, I decided to make a smaller model with A4 print paper in order to test the strenth and see if I need an extra change or improvement for my model.

17.1 paper prototype

Prototype

18.1 prototype for Fablab

1:1 scale prototype using Fablab (option two), handcut(option one)

Model Modification

Few things I had notice during the construction of my 1:1 phototype and would like to make adjustment to my later attempt.

1) Even though model itself can withstand ones weight, however the shape of the slightly different to my digital model.(option one)2) No where inside the model I can attach the led lights and battery.(option one)3) The holes on the surfave are too big, so that may see all the thing inside the lantern.(both option)4) The model has to get a cover on the top and bottom which is not so artistic.

Compare with both options, I finally choos the second option. However, I still want to have a look at the effect of the first option.

Model Modification

During the constrution of the model, I decided to make a cover in the middle in order to male the light can be diversification. In addition, it can hold the led lights as well.

19.1(a) (b) (c) (d) (e) modification of option two

I used the tracing paper to cover the holes on the sides of the model. However, the consequence of milky coating I used to stick the tracing paper and the ivory card weinkled up the card. (see19.1b) Then I changed to use double sides adhesive tape. (see 19.1c&19.1d) After that I created a cover on the top of model due to I don't want anyone else to see the inside of the model.(see 19.1e)

19.1b

19.1a

19.1c

19.1d 19.1e

Fabricating

1:1 Final model

20.1 Final model

Lighting Effect

Connecting 5 led light with 5 batteries.

At first, I attached batteries directly to the LED lights and placing it inside the lantern (see 21.1d). However, by using the method, it is very hard to turn on and off the lights. As well as it will be very inconvenient during the parade. Thus, I decided to wire up all the LED lights (in parallel, so that the intensity of every lights would be the same) and connect them with different batteries(see 21.2). I can turn them on or off with two wires touch together or not.(see 21.1i)

21.1a 21.1b 21.1c

21.1d 21.1e 21.1f

21.1g 21.1h 21.1i

21.1 (a) (b) (c) (d) (e) (f) (g) (h) (I) LED lights connectionwith model21.2 diagram of lights' connection

Lighting Effect

22.1 light effect-option two 22.2 light effect-option one

As I said on the first page of model modification, although I didn't choose the option one, I still want to have a look at the light effect of option one. It is obviously not the model I want ae well as it doesn't meet my concept after seeing the light effect.

Final Model

23.1 final model 1 23.2 final model2

Reflection

I learnt a lot from this module, Prototyping is also a new aspect of design for me, I made models with paper and then took the photo of the models with light. I have made models before but not like this method. I found out that the material is the key element to understand the modelling and prototyping, its strength, weakness are going to affect the construction of the model and how you go with it. In attempting to translate my design from digital world into reality, quickly I realise I can never achieve a 100% similar physical model and I would have to makes changes to my design in order to overcome some of the limitation occur in reality. The most obvious restraints of fabrication are the limitation of the material. I had struggled to find ways that would allow me to fabricate the lantern without losing its initial design and concept.

The lecture pointed out that architecture is not only about building, but also bringing sustain to the place. The robotic fabrication of architecture means that new links can be created between the physical and informative sides of architecture. While information architecture was greatly developed previously, the focus is now on the physical fabrication and development, like the project we are undertaking in Virtual Environments. By using Rhino modelling we can see the physical model before it is created through material.

Furthermore, Gershefeld, 2005, introduces quality fabrication as a process without waste. Through the development of digital fabrication, optimal efficiency, time scale, and to extent- accuracy can all be predetermined beyond what traditional division of labour can offer. While constructing our models, the placement of our unrolled faces onto the card is important to reduce wastage. In my own model, I tried to fit as much as I could onto one piece of card by rotating and swapping the order of my pieces.

In addition, the tools today are digital which mentioned by Macfarlane (2005). It discusses his firm's projects and its parallels with technology. As the digital age was starting to dominate, it allowed for new ways to approach architecture, Macfarlane's firm transitioned to an entirely virtual firm and with it, advantages of an ease of sharing and understanding was realized in the office. Moreover, Macfarlane goes on to say that the digital revolution has led to the linking of designer and fabricator, client and user and expresses the belief that architects should be more connected to other professions, something which is exemplified in the projects described, with a variety of production methods, including boat builders, technology and three-axis milling.

However, this proved to be quite difficult as my pieces are not all linear and are various in size and shape. Anyway, the process of making the physical patterns is the most interesting part in this module.

Subject Reflection

About the readings:

Technology uses metaphors to allow people to understand what it is doing, however it is far more complex. Technology allows for real life things to be replicated, for example, the senses. Smart objects can identify, trace, see and speak for us. These things can sometime be done more efficiently by technology in comparison with humans. As technology grows it becomes apparent that the jobs which objects can perform are becoming more and more advanced. 3D digitizers and pressure sensitivity are examples. This is mainly done through tags and sensors

Embedded memory and machine intelligence allows for these machines to respond to the information which they collect from the sensors. This embed intelligence is a common place thing, in cars, around the home and outside. As technology advances it becomes cheaper allowing for the technological revolution to spread worldwide. To allow for these machines to work in harmony with those around them, whether that is a printer or another network, wireless connection became a key.

Future possibilities are almost un-imaginable. The author suggests that clothing will be hit with micro-chips making us walking computers. Tangible money has to be replaced with virtual money, which has begun to an extent. Passports, ID, badges and tickets are all replaced by small digital codes. Connection through the flesh is suggested to allow connectivity through devices. Some of the things suggested seem far-fetched; however in reality this may be the direction that is being headed towards.

Technology aims to make life easier. I.e. if you have to pay for a parking meter you need a whole lot of change. In the future perhaps the meter would wirelessly connect with your car and you would receive a bill at the end of the month. The dream of a robot-served future is materializing”

This therefore leads to a new revolutionary stage for architecture, with technology becoming part of the building rather than an addition. Construction will also change, perhaps leading towards pre-fabrication. Materials can be altered to have longer life spans leading to smart and efficient cities. The possibilities are endless.   

When it comes to the question that what make design different to pure artwork? It is a process of stately re negotiating someone’s concepts and approaches to a design issue. It is not only help me to develop my skill on using Rhino 4 to create my own model, but also the capacity of figuring outside the case and challenge myself in terms of dealing with the design issues which were up against me among the process of development. As well as it gave me a chance to feel about how an architect or designer think when they try to create some concepts and ideas that will be entirely new. There were a lot of times that I was not confident about I would able to make it till the end of this semester. The reasons are not only due to the issues when I tried to use the software-Rhino 4 which I was really not good at, but as well as the limitation of the time for me to frame my concepts or to build the model again and again. It was really difficult to make my models moving toward more perfect in such a limit time. Apart from this, these helped me to learn how to spend my time in a more wisely and efficient way. Although it is quite frustrating for me to learn this subject, but after all this is a very valuable lesson for me to learn and I tried a lot in learning this subject.

Anna Kitanaka, The End of Architecture?, May 4, 2008, cited on http://www.japaninc.com/mgz_may-jun_2008_architecture, viewed at 22/10/2012

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

Bryan Johnson, 10 Incredible Slam Dunks, June 9, 2009, 1:01 am, cited on http://www.toptenz.net/10-incredible-slam-dunks-get-posterized.php, viewd at 21/10/2012

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, 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; 103-113

Leeser architecture: wins first prize for 'helix hotel' in abu dhabi, 2004,cited on http://www.designboom.com/weblog/cat/9/view/5921/leeser-architecture-wins-first-prize-for-helix-hotel-in-abu-dhabi.html, viewed at 23/10

Macfarlane, B. (2005): Making Ideas. In Architecture in the Digital Age, B. Kolarevic (ed.), Spon Press, London, pp. 182-197

Mitchell, W. (2000): Replacing Place. In The Digital Dialectic, P. Lunenfeld (ed.), MIT Press, Cambridge, MA, p. 112-127

Mitchell, W. (2000): Software: New Genius of Place. In e-Topia, MIT Press, Cambridge, MA, p. 42-68

Poling, Clark (1987): Analytical Drawing. In Kandisky’s Teaching at the Bauhaus, Rizzoli, New York, pp. 107-132

Scheurer, F. and Stehling, H. (2011): Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 (4), July, pp. 70-79

Slam Dunk Science, Physicist Teaches Basic Science Principles To Help Basketball Players Make Their Shots Every Time, November 1, 2007, cited on http://www.sciencedaily.com/videos/2007/1111-slam_dunk_science.htm, viewed at 21/10/2012

Reference