Jasmina McKennaStudent No: 507565 Semester 2/2012 Group 12

2. Design

1. Ideation3. Fabrication

4. Reflection

While in architecture each pattern requires a patterner who precisely plans each ele-ment of a pattern shape, patterns found in nature form “naturally” following under-lying principles. Even though these natural patterns seem to happen randomly and spontaneously they can be ascribed to mathematical analogies. Although there is no universal theory of the formation of natural pattern, the reoccurrence of certain basic shapes show that they underly a common scheme. It is also to be noted that complex pattern systems break down into relatively simple pattern elements that add up and attach through repetition. Philip Ball’s ‘Pattern Formation in Nature’ had a significant impact on my perception of nature. Each natural phenomenon can be deconstructed until one discovers the core principle of re-occuring micro-shapes. It seems that I am now only beginning to be aware of these phenomena, which surround us without being recognized.

Orthographic views show aspects of 3 dimensional objects in 2 dimensional form. Even though they do not comply with the 3 dimensional reality, these orthographic repre-sentations provide precise information about the object. Orthographic views enable us to visualise information needed in the design process, especially when materializing the virtual object.Other architectural drawing methods also inform us about form, size, texture, material, environmental context, building interiors and space division of architectural objects. All of these methods facilitate the understanding of 3 dimensional forms using explana-tory 2 dimensional model drawings.

Kandinsky, a Russian painter and theorist at the Bauhaus, played an influential role in the teaching and understanding of analytical drawing. With his abstract drawings he investigates the objects from a compositional point of view and how they structually relate to each other. Analytical drawings from the Bauhaus focus on the tensions between the framed elements rather than the exact depiction of the seen. Through a series of drawings the motif progressively becomes more abstract following a set of principles concerning balance, parallels and major contrasts. The ability to abstract is one of the most important skills a designer and architect must have. A good design is an abstract representation of the anal-ogy that was chosen as inspiration. For me personally it was extremely helpful to abstract not only by drawing but also by modeling as clay forces you to simplify shapes and details.

On Analytical Drawing Clark Poling

On Pattern Formation in NaturePhilip Ball

On Orthographic TerminologyRendow YeeFrancis D.K. Ching

When the spider’s prey entan-gles in the web it is impossible to escape. As the spider notices its catch in the strings, one might im-agine that the spider’s slow mo-tion approach is a way to torture the captured victim. The spider enwraps the insect with such el-egance and diligence that its handling seems almost benign. It could even be compared to a mother who holds her child with parental affection.The lantern’s form will be similar to the shape of a pouch that is held close to the body to represent the spider’s intimate handling of its victim.

The Spider’s Prey

The ‘pouch’ is to be hooked over one shoulder while one arm will support the bottom of the lan-tern. The shape of the pouch consists of trapezes of different sizes that resemble the forms within the spider web. Furthermore, it has a similarity to a baby sling that enables the parent to carry the child as close to the body as possible. The di-rect contact creates not only a physical but also a psychogycal closeness.

smaller trapezes

larger trapezes

Ideas for Shape and Form

Clay ModelSpider Web Pouch

Front elevation Side elevation

These models show my first ideas for the surface pattern of the trapeze elements that could make up the lantern. Each trapeze is cut into horizontal sections that alternately fold inside and outside. This allows the light to give the surface a variety of interesting shades.

The lantern is made of durable material. It is transparent in parts but it is impossible to have a clear vision of the inside. Therefore its content remains unknown.

smaller; transparent surfaces shrink in number

larger; transparent surfacesincrease in number;position of the light source

smaller, transparent surfaces shrink in number

substance worn close to the body

light source in the center if the

object (the part with the most volume)

emotional attachment

valueprotection

The obejct holds somethin of value, which is rep-resented by the source of light positioned in its center.

The incaptivated thing of value is incaptivated in the object. Symbolically the lantern captures the light.

2. Design1. Ideation

3. Fabrication

4. Reflection

Module 2 has presented to me a lot of challenges concerning the appropriate use of Rhino and the further development of my design concept. Since I had trouble to represent and visualize the design idea based on the analogy of the spider and its prey in Module 1, I spoke to my tutor about possible solutions to this problem to make sure that I would success-fully cope with further development issues. He advised me to formulate my concept and describe all characteristics of my analogy without having to mention any terms related to the actual spider, its web and the prey in its cocoon. This helped me tremendously as the approach of verbal formulation helped me to clarify some of the design features that play a significant part in making my lantern effective. I have learned that verbal formulation can also be used as abstraction tool and in my case it proved to be more applicable than the abstraction through drawing or modeling. As my design concept is based on the emotion of attachment and value, the verbal formulation facilitated the translation of something intangible into a physical form.

This ties back to the reading by Scheurer and Stehling (2011) who looked into the subject of abstraction and reduction – two related design approaches through which one aims to cut down on unnecessary detail and information. However, the two methods vary from each other in a couple of points: Reduction is about finding the optimal way to transport informa-tion without altering the content and by maintaining the original functionalities of a model. Abstraction in contrast aims to reduce detail to an extend that information might be altered, e.g. to emphasize certain components more than others.

As I progressed in the development of my digital model, I was amazed by what comput-ers enable a designer to do, but also found myself frustrated at times when I realized how restricting the computational para-meter space is. Scheurer and Stehling (2011) rightly state that creativity and the design freedom of a designer is limited because the computer al-ways generates outcomes and solves problems with the same underlying scheme.

Limitations do not only occur in the virtual world of computing but also when modeling with physical models. Fleischmann et. al (2012) point out that a designer must often adapt his design to the material used as different substances behave in different ways. Producing prototypes as we did also informed me about the influences of light and shadows on the shape of my design.

On Pattern Formation in NaturePhilip Ball

 

 

Digitalization of the physical model using Rhino

The two photographs show the top and side view of the cley model that functioned as guidelines for the placement of contours that I applied using Rhino.

With the help of four contours (top, bottom, left and right side) I constructed the most basic spinal lines of my model. I alligned and merged these lines and lofted the curves in order to create three-dimensionality.

 

 

Rhino Modelling

Eventually, I chose a panel that I created with the custom 3D panelling tool. With the help of attractor points I was able to maxi-mize the size of the panels where the lan-tern body has the greatest volume. Finally I added border off set cut-outs and distrib-uted them using the same method.

I tried a variety of 2D and 3D panels on my model to learn about the different features of Rhino’s Panelling Tools. Hereby I kept in mind that I wanted my model to have a smooth surface with different degrees of transpar-ency.

These elevation, top and bottom views show my model as I developed it at the end of Module 2. I added boarder offsets with triangular cut outs, which I planned to cover with transparent Washi paper. I decided that the beholder should not be able to look into the model as the inside holds an object of value to which the owner feels an emotional attachment. The substance inside is private, vulnerable and valuable and is therefore wrapped up and protected from sight.

top view

side elevation 1

bottom view

The transperancy of the ob-ject increases towards the thickest part of the lantern, which is closely to be held to the center of the body. It will thereby be the bright-est part of the lantern. The light represents something of value that is captured in the object. The center of the body and the center of the lantern that holds the valu-able unknown (the captured light) are aligned when the object is worn. This stands for the emotional attachment of the holder to the valuable substance inside.

Final adjustments to the Rhino model

 

smaller; transparent surfaces shrink in number

larger; transparent surfacesincrease in number;position of the light source

smaller, transparent surfaces shrink in number

Prototype, Lighting& Design Choices

It is not possible to directly look into the inside of the lantern. The value of what is caputured inside makes it desired and vulnerable and therefore needs to be protected from the beholder’s sight. I used Japanese Washi paper, which has an or-ganic and fibred look to it and thus ties back to the natural pattern of the spider web. I also chose a warm light to represent emotional attachment, connection and familiarity (ownership).

“Surface quality of material being mainly a quality of appearance, is an aesthetic quality and there-fore a medium of the artist; while quality of inner structure is, above all, a matter of function and therefore the concern of the scientist and engineer. Sometimes material surface together with material structure are the main components of a work; in textile works for instance, specifically in weavings or, on another scale, in works of architecture.”- Anni Albers, a weaver from the Bauhaus

“The tools we use today are digital - their impact on our times is undeniable. It is always the case with whatever we create - the tools are somehow an undeniable part of the product. These new tools give us new ways of seeing, new eyes - possibly a new future - almost to the point where one can think digitally.” - Brandan Macfarlane in Making Ideas

Many designers and architects have been inspired by the art of weaving being fasci-nated by its simplicity and durability. While the concept of weaving is conditioned by the material used traditionally (velvet, straw etc.), designers now use all kinds of materials focusing on its form and aesthetics rather than its purpose. Many have discovered the beauty of its shape in connection with light.To give my lantern an organic look I decided to use spline elements that “weave” into the card paper strips and thus to connect them with each other.

Hereby, I will not use any glue to draw a parallel with the weaving activity of the spider.

2. Design

1. Ideation

3. Fabrication4. Reflection

Glueless Paper-weaving

After some exploration and experimentation I con-cluded that this solution will work best as it proved to be the most stabile and managable way to connect the 15 strips. I also think that it is a visually appealing addition to the design as a whole. Above all, it works well with the concept of the spider’s prey having used the technique of weav-ing paper without having to use any glue or other supportive tools. It gives the lantern an organic and hand-made look rather than a manufac-tured one.

At this point I started testing how many splines to use to connect the strips. To give the form more flexibility to fold inwards and outwards as intended, I decided to use only four splines for the concurrence of two stripes. I also thought about enlarging the circular elements for the final model to em-phasise their importance and to increase their impact on the model’s aesthetics.

The full size

Prototype

The outside surface of the model with splines

The inside surface of the model with splinesand Washi paper.

I covered the triangular cut-outs with Jap-anese Washi paper, which is a transparent material with an interesting and organic looking texture. As I intend to prevent the beholder from seeing what is inside the lantern I believe this design decision fits well into my concept: The lantern holds an object of intimacy and emotional val-ue - something that is purely private and hence is protected from the outside.

Building this model I have learned a couple of things that I should improve before sub-mitting the final model at the end of the semester. It was a great learning experience without which I would not have come to the following conclusions:

1. Thicker paper type - more stability and less transparency when illuminated from the inside

2. Start connecting the strips at the most narrow part of the model as it will be difficult to reach these sections having connected other parts before

3. Further develop the idea of how the light should be perceived - choose a warmer light or cover the LED lamps with transparent yellow paper , combine several lamps to-gether to get a concentrated stronger light source placed in the centre of the lantern, a loose hanging light?, a flickering light?, a light that changes its intensity?

4. Rethink the distribution of splines - systematic or random? - smaller and bigger ones?

Improvements

7 8 9 10

11

12

13

14

15

inside is the value represented by the light source

When touching this metal chip a flickering of the lights is achieved.

Final ModelThe Final model distinguishes itself through a couple of improvements: 1. I used thicker card board for sev-eral strips (1,2,3,4,5,6,7,9,12,14,15) to ensure more stability while at the same time maintaining a certain de-gree of fragility to represent the vul-nerable substance. 2.The splines vary in size and shape.The strips 1,2,3,4,5,6,14,15 use small round splines. The splines get big-ger and slightly more oval-shaped where the lantern gains in volume (7,8,9,10,11,12,13). This gives the im-pression that the substance inside streches the paper structure, just as the prey of a spider would try to free itself from the strings.

2

1

3

4 5 6

3. The light is set into a wire construc-tion that places it in the centre of the lantern without touching the walls. I used tracing paper to build a cube around the lamps as an aesthetic cover.

Final Model

The images to the left and right show the illuminated lantern in the dark with different light intensities. The splines add an in-teresting aesthet-ic to the lantern body as well as the choices of thinner and thicker card board that allow for a stronger/ weaker contrast with the Washi pa-per triangles.

2. Design

1. Ideation

4. Reflection3. Fabrication

“A very important turning point for me was the term ‘obsessive sketch’ by Takama Kyoshi, the haiku master. When the poet’s senti-ments are overly visible, the audience may become uncomfort-able. By writing simply and only about what is there, the audience is drawn into the poet’s world. Their imagination is stimulated, and a silent connection is established. I believe this is where the most important aspect of the Japanese sense of beauty lies. “-Naoto Fukasawa (a Japanese Industrial Designer)

"Simple can be harder than complex: You have to work hard to get your thinking clean to make it simple. But it’s worth it in the end be-cause once you get there, you can move mountains.”- Steve Jobs (CEO of the Apple Inc.)

“As designers, we think through doing. Design is a reflective prac-tice between the designer and her design materials. When you sketch something and commit it to paper, it moves from being an abstract thought to something that is more concrete and real. Per-ceiving this concreteness, in turn, influences your thinking, leading to new questions that spawn new ideas… It is the act of creating these design artifacts, rather than the artifacts themselves, that is the most valuable aspect of the design process.” – Dane Petersen (Experience Designer)

Having undertaken the course Virtual Environments I have gained significant experience in the develop-ment of design ideas and further design processes that eventually lead to a coherent design outcome. We started the semester off by finding inspiration in natural phenomena that underlie common principles and produce an astonishingly accurate pattern. The natural patterns we looked at in seminars and lectures ex-hibited the fractural repetition of re-occurring basic elements that formed complex systems. I was fascinated by the fact that most of these intricate formations can actually be deconstructed into simple units that can be easily reproduced using mathematical analogies and equivalences with the help of computational de-sign programs. Having said this, the pattern of a pinecone could be easily imitated by using mathematical functions. It became clear that purely mathematical shapes require only minimal human impact in contrast to the modeling of real world shapes based on mathematics, which are strongly dependent on human in-put. When I started my research of natural patterns I saw myself confronted with endless possibilities, many of which I would find more effective today then the one I chose if I were to decide on an analogy now rather than then. As I had only learned to open my eyes to the occurrence of natural pattern formations I just started to broaden my horizon and the ideas I came up with seem very limited from today’s point of view. However, I started to develop my design ideas on the basis of the pattern found in spider webs – a conjunc-tion of trapezes made out of a single thread. I was fascinated by the accuracy, cautiousness and thorough-ness with which the spider creates its web. When I was asked to draw my first diagrams and sketches I had difficulties imagining how I would achieve to represent this rather two dimensional analogy in a three dimen-sional form. As I continued my research I discovered a video documentation showing a spider wrapping her prey with strings to preserve it for later consumption. I was interested in the relation between the spider and its victim as there is no violence involved – which contrasts with most other predator-prey relationships in the animal kingdom. In fact, after the prey entangles itself in the web (the predator only plays an indirect role in the catch) the spider handles it with such dignity and caution that one might be misled over the raid.

Design Development and Process

Recognizing the irony behind it, I instantly drew a parallel to a caring mother holding her toddler with pa-rental affection in her arms. This particular stage confronted me with an even greater challenge because I now had to understand how to illustrate and abstract the parallels I found and to visualize them in a design concept. This learning experience was probably one of the most important during the whole semester as we were told that a design is less effective if there is no underlying concept. Hence, I started to further investi-gate the parallels between the relationship of a loving mother and her child and a spider and its entangled prey. By reducing the parallels to the very core – using only generic terms and characteristics that would both suit the mother-child and the predator-prey relationship – I was able to undertake an abstraction. On basis of this simplification I managed to make my first design decisions about the form and shape of my lan-tern. The terms that played determining roles in the design outcome were ‘emotional attachment’, ‘value’, ‘vulnerability’ and ‘protection’. As I learned in lectures and readings abstraction is not only a useful tool to reduce the amount of information to avoid the distraction by unnecessary detail, but also to clarify inten-tions and to extrude essential factors that reinforce the design, its purpose and its relevance. The keywords of my design (named above) brought along the idea to wear the lantern close to the center of the body – where one feels the safest and the most attached. Further design decisions like the warmth of the light, its flickering, the lantern’s different degrees of transparency and the use of spline instead of glue to connect the card board strips all led back to these four generic terms and their visualization in the model. Eventually, I believe I was able to construct a coherent design with a meaningful concept that is reflected in all design decisions I had to undertake. In prospect of future designs I will make use of my knowledge of abstraction and reduction benefits and the importance of sensible design concepts. I will also have a greater understanding of computational design and its advantages as well as its limits in terms of practicability using certain materials and the restrictions in creativity.