A Little Bit of This, A Little Bit of That

Assignment 7 - Luminaire Poster

2007-03-21T21:51:00.000-07:00

Our final course assignment was to create a poster for our luminaire. I approached it from the standpoint that it was a "marketing" piece used to promote the luminaire for sale. Shown here is the final poster, as well as a couple of my favorite images at larger scale.

More digital sketches

2007-03-20T11:47:00.000-07:00

Over the course of several class periods, I used the digital pen to take notes--for my facade class, studio design development, and for architectural history. Here are some of the more interesting recorded drawings.

Assignment 6 - digital sketchs revised

2007-03-20T11:41:00.000-07:00

Based on a suggestion from Nancy, I created two new layouts--one showing the vertically oriented facade sketches, and the other showing the horizontal facade sketches. She felt that having both orientations in one layout made it hard to understand the development of each line of sketches. I agree. The new layout is a lot easier to grasp conceptually.

The Stockholm Public Library Competition

2007-03-07T23:46:00.000-08:00

In contrast to the experimentation of form and light that we've been exploring with FormZ, I've also tried to utilize the program for architectural purposes in the modeling of my studio project. Shown here is the Stockholm Public Library (designed by Erik Gunnar Asplund), and my proposed addition to the library. This is a preliminary model--very much a work in progress, both in terms of the design of the library addition, and my modeling of it with FormZ.

Luminaire Development Images

2007-03-07T23:26:00.000-08:00

This sequence of images simply shows the evolution of the spherical luminaire design.

The first sequence (above) consists of 17 tilted discs; in the second sequence (below) I removed some discs so there are now only 12, and they too are rotated; and last you'll find the upside-down version.

The shadow casting makes me feel like I'm in a jungle surrounded by tigers. Not really the effect I was hoping for. I thought the discs would simply diffuse the light, but instead they create really sharp-edged shadows. That wouldn't create a very soothing or pleasant lighting condition if it were a real luminaire.

The Luminaire Revisited. . .Again

2007-03-07T22:52:00.000-08:00

I wasn't thrilled with the effect of the rendering for the previous luminaire. Therefore I decided to once again tackle FormZ to learn some new tools and create a new luminaire. This time I worked with the Boolean and Derivative operations: intersection, difference, and boolean split. In the end, I used the intersection and different tools the most, as I didn't need to split objects so much as I needed to remove pieces of one object from another.

I started with a sphere, then split it with rectangular slabs to create the circular discs. Then I inserted smaller spheres within the largest one, and used the difference tool to hollow out the center. At first I left the resulting discs parallel to each other, but didn't like the effect of the shadow casting. So then I rotated the discs to try to shield some of the distributed light, but that created even more distorted shadows. I decided to try reversing the effect by turning the luminaire upside down and hanging it from the ceiling, but that didn't help.

So, I'm returning to the first luminaire I created, the S-curved face. That is unless I decide to try one more thing. . .

The Luminaire - Round 2

2007-03-07T22:06:00.000-08:00

To create the first digital rendition of my luminaire (see Assignment 4), I drew a simple rectangle on a flat plane, rotated it to stand vertically, then manipulated it using the distort tool. All this enabled me to do was twist the rectangle. I was not able to create the S-curve that was created in my physical model. However, I was able to easily create the punch-outs on the face of the plane.

By using the loft tool, I was finally able to develop the s-curve and create, essentially, two different planes that meet at the center. I was also able to curve the edge planes as well. I did this by drawing lines in different planes (XY, XZ, and YZ), then using the loft tool to create a continuous plane between the lines.

Once the luminaire was done, I built a simple room and table upon which the luminaire stands. The first rendering is confusing because the light source is positioned in a way that it casts uncomfortable shadows on the wall. The second rendering shows the light source adjusted more appropriately.

More Nurbz, Sweeps, a Lofting

2007-03-07T21:59:00.000-08:00

But mostly Nurbz and Sweeps. By the end of my little experiments, lofting became easy. Using the nurbz and sweeps was a little more unpredictable, so I kept working with them. I wasn't ever able to figure out how to "control" the final result, that is to say, to recreate an image in my head in 3-D digital format. Nonetheless, the nurbz and sweep tool are pretty neat to simply play around with.

Loft, Sweep, and Nurbz

2007-03-07T21:50:00.000-08:00

In an effort to better understand how to use more of the tools in FormZ and to further develop my luminaire, I experimented with the loft, sweep, and nurbz tools. Shown here are a few of the wire frame and the RenderZone images that resulted. To use these three tools, I drew two lines in different planes (XY, XZ, and YZ), then I selected one of the three tools, and a smooth, continuous plane was created between the selected lines.

The first two images are large scale views of a nurbz creation. I'm not quite sure how to "control" the nurbz tool. How the program determines the configuration of the continuous plane is a mystery to me. With the loft and sweep tool, i felt that I had some control in terms of guiding the form that I wanted to create. However, with the nurbz tool, interesting forms can be created, but what that form will look like was always a surprise to me.

I found that it was very important to label each object as it is created, in order to keep track of all the duplicate images that are created with each operation. It can get very confusing and hard to keep track of original images, copied images, ghosted images, and the like. In order to create to create the double plane with the S-curve face, I had to create the first plane with the S-curve, then ghost that plane, reactivate the S-curve to create the second plane, then unghost the first plane. Yes, it is unnecessarily complicated and confusing.

Assignment 6 - Digital Pen sketches

2007-03-02T21:03:00.000-08:00

Over the course of the last week, I used a digital pen to record the strokes I make when drawing/sketching. The most interesting drawings were a series of sketches done for "The Facade" class, a course dedicated (as the title suggests) to learning how to more effectively design building facades. The title of the assigment was "The Difficult Whole," in that we were to design a building facade consisting of either 4 bays, 3 to 4 stories tall in horizontal format, or 2 or 4 bays, 4 to 6 stories tall in vertical format. The challenge was in that there is no clear center (as with a 3 or 5 bay format), and that is comprised of components that aren't grounded, that threaten to "rip apart," but has an element that tethers the composition together.

The sketches recorded using the digital pen are my efforts at developing this "difficult whole." After the drawings were downloaded, I imported them into Adobe Illustrator and did some simple renderings, to emphasize the different materials, i.e. to distinguish the windows from the solid masonry, for instance.

Assignment 5 - 2D to 3D translations

2007-02-22T14:58:00.000-08:00

This assignment explored the transition from designing a luminaire in either a 3D program, converting it to a 2D graphic for the purpose of fabrication (by means of a laser cutter, then reassmbling into a physical 3D model; or simply designing a 2-dimensional figure and physically maneuvering it into a 3D object.

Assignment 4 (phase 2) - The Asplund Luminaire

2007-02-06T11:57:00.001-08:00

This is more accurately a continuation of the third assignment, in that we took the luminaire design from that project, placed it in a setting digitally, printed the composition, then sketched over it.

To do this, I used the underlay feature in FormZ to import a background image. I then copied and pasted the luminaire over the underlay image. I used the visual rotation tool to position the luminaire, and the uniform scale tool to size it appropriately. Next, I exported the image as a jpeg. After printing the image, I used it again as an underlay for the rendered sketches you see here.

Assignment 4 - Emergent Forms

2007-02-06T06:20:00.000-08:00

In this assignment, we were to experiment with all the possible options available with two specific tools. Shown here are examples of objects that can be created using the "Spherical Object" and "Star" tools in FormZ.

The first group of objects shows how a Geodesic Sphere (the default setting) can be modified by changing the number of subdivisions under the Spherical Objects Option menu. Shown here is the progression of 2, 4, 8, 10, and 20 subdivisions, demonstrating the increasing intricacy of the final objects gridded body. The second grouping of objects experimented with changing the shape of the Geodesic Sphere by changing the radius of the object in one or more directions (X, Y, or Z).

The third group of objects demonstrates what objects can be created by changing the Shape description from the dropdown menu in the Spherical Objects Option menu (see attached image). Shown in order of their creation are: a tetrathedron (4), a hexahedron (6), octahedron (8), dodecahedron (10), isocahedron (20), soccar ball, a revolved sphere, or a geodesic sphere (the default option).

The predefined forms only allow you to change their radius, impacting their overall size. The Revolved Sphere, however, allows you to alter the length and depth of its resolution as well, allowing you to make the final object something other than symmetrical, but elongated or squat depending on the settings you choose. (In the end, this was probably my favorite tool, because of the options available to alter its predefined form).

The last group of objects shows how Stars are created. The menu options for this tool start with the Base Type, which include tetrahedron, hexahedron, octahedron, dodecahedron, isocahedron, soccer ball, geodesic level 1, and geodesic level 2. In addion you can select "dynamic" sizing to manually determine the star's size as you are creating it, or you can predefine the star's radius in the menu settings. Lastly, you are able to alter the "Ray Radius" of the star. The examples shown here demonstrate all of the aforementioned Stars in order, with a varying ray radius (left to right) of 25%, 50%, 75%, and 100% respectively.

Assignment 3 - Materials & Texture Mapping

2007-01-30T22:05:00.000-08:00

To give tangible meaning to FormZ as a modeling tool, this assignment had us create a luminaire. To start, we used the "basic" 2D and 3D modeling tools to created forms that were modified with various other tools (intersecting, subtracting, rotating, duplicating, etc.). Once the luminaire took shape, we applied textures and colors to the different objects and planes. Lastly, we used the "lights" feature, to position lights and see the effects of the cast shadows.

FormZ isn't always easy to use, and my first attempt at modeling this luminaire resulted in a great deal of frustration. For example, I was unable to enable the objects to be transparent, thereby allowing their colors and textures to be represented in shadow. The light was also difficult to control; for instance, I wanted to "wash" the backplate with light to give it a soft glow, and I have not been able to position a light to create that effect.

Following our in-class review, our course instructor Nancy Cheng demonstrated several additional techniques, enabling me to create some of the effects that I had envisioned for this luminaire. Shown here are my original layout (left), and the modified layout (right) with model and layout changes. The text has been modified as well.

The inspiration for this luminaire is found in the Stockholm Public Library in Stockholm, Sweden, designed by Erik Gunnar Asplund.

Assignment 3 - prelim sketches

2007-01-29T12:20:00.001-08:00

This assignment involves creating a light fixture, creating three alternatives through the use of color, materials, and textures. I have not yet had a chance to create ideas in a computer format. However, shown here a concept sketches of potential schemes that I plain to explore.

Assignment 2 (round 2) - One Scene, Four Different Ways

2007-01-25T00:31:00.000-08:00

This is the final version of the second assignment, "One Scene, Four Different Ways." You'll notice first, that I created a new object in FormZ on which to test different lighting conditions. In addition, I have included here the evolution of the changes to the presentation layout, based on suggestions made by the course instructor Nancy Cheng.

Assignment 2 - Lighting the Stage (a.k.a., One Scene, Three Different Ways)

2007-01-17T21:09:00.000-08:00

The objective of this assignment is to develop control of digital lighting through views, colored lights, and materials. Following the initial understanding of these skills, a secondary objective is to adjust lighting to change the perception of space and form (using Photoshop).

The images shown here are preliminary experiments that will be refined. My goals for this first effort were to simply understand how to use the light rendering tools in Photoshop, and how to apply colored layers and colored lighting to the scenes.

Assignment 1 - The Beauty of Shadows

2007-01-16T10:00:00.000-08:00

This assignment was an attempt to develop basic rendering control: creating views, utilizing lighting, and rendering the final images.

The final presentation was critiqued based on the following criteria:

quality of the inquiry (how thorough was the experimentation with a specific theme?)

evocativeness of the narative (how well does the set of images evoke memories or tell a story?)

visual composition (do the resulting images have aesthetic appeal?)