RHIANNON RUSSELLVIRTUAL ENVIRONMENTS

FABRICATION607660

MODULE THREE

PREVIOUS MODULES REVIEW

In Module 1 I looked at the formation of the dandelion and the process of growth and subsequent change of form. I created different paper and clay scale models to represent patterns found within the structure of the dandelion. I was not particularly drawn to any of my original designs and thought that their abstract form bared little meaning.

Consequently, for Module 2 I resorted back to focusing on the process of the dandelion losing its seeds. After designing a base model I digitalised it in Rhino and tested different patterns and shapes with panelling tools. I trialed 2D and 3D preset and custom panels in Rhino until I found one that would represent my original natural pattern in an abstract way, but with not too much distortion.

7KH�ÀQDO�GHVLJQ�XVHG�D�WULDJXODU�VKDSH�WR�FUHDWH�D�UHSHWLWLYH�SDWWHUQ�WKDW�UHÁHFWHG�P\�RULJLQDO�PRYHPHQW�DQDO\WLFDO�GUDZLQJ�WKDW�HPSKDVLVHG�WKH�FRQQHFWLRQ�EHWZHHQ�WKH�differing sizes of dandelion seeds.

PREVIOUS MODELS REVIEW

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I considered how the lantern would be held by the user. I wanted it to represent fragility DQG�WKH�GHOLFDWHQHVV�RI�WKH�GDQGHOLRQ�DQG�WKXV�RULJLQDOO\�WKRXJKW�RI�KDYLQJ�D�VPDOO�PRGHO�WKDW�FRXOG�EH�FOXWFKHG�LQ�WKH�SDOP�RI�\RXU�KDQGV���+RZHYHU��DV�P\�GHVLJQ�LQWHUIDFH�GHYHORSHG��,�WKRXJKW�LW�ZRXOG�EH�PRUH�HIIHFWLYH�WR�LQFRUSRUDWH�LW�ZLWK�WKH�DUP�DQG�WKXV�rescaled it so a user can put their arm through it.

PROTOTYPES

I constantly thought that my design had little meaning and had strayed too far from my original natural pattern. As a result I kept looking back at my designs and aimed to bring the pattern of a dandelion back into my model. I liked the panel I had used at the end of Module 2, KRZHYHU�,�IXUWKHU�GHYHORSHG�LW�XVLQJ�SURWRW\SHV���,�IRFXVHG�RQ�LPSOHPHQWLQJ�UHSHWLWLRQ�DQG�VFDOLQJ�HIIHFWV�ZLWKLQ�WKH�SDQHOV�

In this panel I played with the UHÁHFWLRQ�RI�OLJKW�WKURXJK�WKH�VPDOO�FRYHUHG�VOLWV���+RZHYHU��,�IRXQG�WKDW�the LEDs were not powerful enough to obtain my desired effect.

I found that this panel was the best to emphasis scale as I could manually decide the size of the cut out section once the shape was unrolled and WKXV�YDU\�LW�ZLWK�DFFRUGDQFH�WR�WKH�section of the lantern.

I found this panel to be too simple. The cut out holes were too large and consequently would not create a YHU\�LQWHUHVWLQJ�OLJKWLQJ�HIIHFW�

PREPARATION TO PRINT MODEL

,Q�RUGHU�WR�DVVHPEOH�P\�PRGHO�,�ÁDWWHQHG�WKH�GHVLJQ�E\�XQUROOLQJ�WKH�SDQHOV�LQ�GLIIHUHQW�layers. This took a couple of trials to see which parts would successfully unroll neatly. As well as testing for the minimum amout of layers that could be used successfully. At ÀUVW�,�GLGQ·W�ODEHO�WKHVH�GLIIHUHQW�OD\HUV�VR�,�IRXQG�LW�YHU\�KDUG�WR�GHWHUPLQH�ZKLFK�SLHFHV�connected to each other when I tried to construct the model. After this mistake I reunrolled the model and labelled the layers in order of descendence.

I then lay out the unrolled elements onto a 900/600mm rectangle that could be read by the cutter. I created tabs on the sides of the structures that would need to be connected so I could later join them together. I made these tabs manually using Rhino to allow me more freedom in where I put them.

I placed the layers on different layers with respect to whether they were being cut or RQO\�VFRUHG���,�KDG�WR�UHSHDW�WKLV�VWHS�EHFDXVH�WKH�ÀUVW�WLPH�,�IRUJRW�WR�FKDQJH�D�IHZ�RI�WKH�ERUGHUHG�HGJHV�WR�EH�VFRUHG�LQVWHDG�RI�FXW�VR�WKDW�WKH�FXWWHU�GLGQ·W�JHW�FDXJKW�on loose edges.

The model is split down into 8 layers

There is a hole at either end of the model to SURYLGH�SODFHV�IRU�WKH�user to hold it

MODEL PRODUCTION

I printed my model using the card cutter. It took a while to determine an appropriate pressure to use on the scored DQG�FXW�VHFWLRQV�RI�WKH�PRGHO���7KH�ÀUVW�WLPH�,�WULHG�WKH�FXW�command did not cut far enough through the paper and the score line barely made an indent.

$IWHU�WKH�FXWWHU�KDG�FXW�WKH�ÀOH��,�XVHG�D�VWDQOH\�NQLIH�WR�cut the few edges to separate each section from the large piece of cardboard. I then joined the tabs to the corresponding layers to form the lantern.

DEVELOPMENT PROBLEMS

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Problem 1: GLUE

I initially only used straight lines for my scored edges which became problematic in later stages as the paper could only be bent neatly in one direction. While this was ÀQH�IRU�WKH�SLHFHV�DW�HLWKHU�HQG�RI�WKH�PRGHO��WKH�PLGGOH�layers had sections that needed to be bent in opposite GLUHFWLRQV�WR�ÀW�ZLWK�WKH�UHVW�RI�WKH�PRGHO���$V�D�UHVXOW�RI�only using straight lines my model was rather distorted in shape in sections.

Problem 2: TYPE OF LINES

DEVELOPMENT PROBLEMS

I found it quite challenging to determine the size of my tabs DV�WKH�VL]HV�RI�WKH�SDQHOV�DQG�FXW�RXW�VHFWLRQV�YDULHG���$IWHU�a few attempts I found it easiest to set a general size for all the tabs and then if they needed to be trimmed when assembling the model I could do so later.

Problem 3: TAB SIZES

After adjusting the types of lines I forgot to add tabs to some of the edges of the sections. I tried to compensate by cutting little pieces of card to stick the sections together. :KLOH�WKLV�ZDV�VRPHZKDW�VXFFHVIXO��WKHUH�ZHUH�VRPH�REYLRXV�gaps between sections of the lantern.

Problem 4: FORGETTING TABS IN SECTIONS

DEVELOPMENT PROBLEMS

The LED circuit that I created used 10 LEDs and 5 resistors and as a result had a lot of wiring joing the different elements WRJHWKHU���,�ÀUVW�DWWHPSWHG�WR�EXQGOH�WKH�WKH�OLJKWV�WRJHWKHU�LQ�the centre of the lantern, but the lights did not stay in place or shine far enough. I then tried to place the lights around WKH�HGJH�RI�WKH�ODQWHUQ�EXW�DJDLQ�FRXOGQ·W�JHW�WKHP�WR�VWD\�LQ�VXLWDEOH�SODFHV���$V�D�UHVXOW�,�DWWDFKHG�HDFK�LQGLYLGXDO�/('�WR�ÀVKLQJ�ZLUH�DQG�WKHQ�WLHG�WKHP�DURXQG�D�IHZ�RI�WKH�cut out holes. While this is not the most ideal placement it offered more freedom in where the lights were placed and allowed them to be located close to the surface and thus SURYLGH�VWURQJHU�OLJKWLQJ�HIIHFWV�

Problem 4: INSTALLATION OF LIGHTS

FINAL MODEL

LIGHTING EFFECTS

Before creating an LED parallel circuit, I had only tested my design using a much larger single light source. This light made the shadows a lot more SURPLQHQW���(YHQ�ZLWK����/('V�LQ�P\�ODQWHUQ��WKH�VKDGRZV�ZHUH�QRW�DV�,�KDG�SUHYLRXVO\�ZLVKHG�WR�KDYH���+RZHYHU��E\�SODFLQJ�WKH�OLJKWV�YHU\�FORVH�WR�WKH�ODQWHUQ�VXUIDFH�,�FRXOG�SURGXFH�DQ�VRIW�YHUVLRQ�of this. While this effect was different to what I had intended, I quite liked it, the shape of the cut out ZDVQ·W�KLJKOLJKWHG�WKURXJK�WKH�VKDGRZV�EXW�WKURXJK�WKH�RXWOLQH�RI�WKH�PRGHO·V�VXUIDFH�

INTERFACE WITH ARM

The model has 2 main ways of being held.

7KH�ÀUVW�LV�D�PRUH�LQWHUDFWLYH�ZD\��WKDW�LQYROYHV�putting the arm through the middle of the model. This way helps to limit the open area within the ODQWHUQ�DQG�WKXV�LPSURYHV�WKH�OLJKWLQJ�HIIHFW�DV�LW�LV�shown more directly on the surface.

The secon method is to simply hold the lantern at either end. This method better supports the idea that the lantern is a fragile object that needs to be delicately held, supporting my original natural pattern of the dandelion.

RESPONSE

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Architecture in the Digital Age - Design and Manufacturing

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Digital Fabrication - Architectural and Material Techniques

This reading indicates that by using digital means of production the GHVLJQHU�FDQ�EHWWHU�UHSUHVHQW�WKH�ÀQDO�GHVLJQ���,W�DOVR�PL[HV�WKH�SKDVHV�of production together, in doing so eliminates steps and makes the ODUJHU�GHVLJQ�SURFHVV�D�PRUH�HIÀFLHQW�WDVN���,W�DOVR�KDV�H[SDQGHG�WKH�UROH�RI�WKH�DUFKLWHFWXUH�VR�WKDW�WKHLU�GLVFLSOLQH�RYHUODSV�ZLWK�RWKHUV�VXFK�as construction. The digital age has also allowed architects to create a series of unique pieces with as much effort as to recreate the same item.

0\�ÀQDO�GHVLJQ�YDULHG�IURP�WKH�5KLQR�ÀOH�TXLWH�D�ELW���7KLV�ZDV�PDLQO\�GXH�WR�WKH�PDWHULDO�WKDW�,�XVHG�ZKLFK�ZDV�YHU\�ULJLG�DQG�WKXV�GLG�QRW�DOORZ�IRU�PXFK�PRYHPHQW���$V�D�UHVXOW�,�FDQ�VHH�WKDW�\RX�FDQ�QRW�H[SHFW�WKH�SK\VLFDO�model to directly resemble the digital one - there are limitations with the use of digital programs in design projects.