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HEADSPACE 02

VIRTUAL ENVIRONMENTSem2 - Headspace project

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MODULE IIII SARAH REESSTUDENT NO: 388569 SEM 2/2010 GR:6

CONTENTSCONCEPT PRECEDENTS MODULE I - ENGENDER

DIGITAL PRECEDENTSMODULE II - DIGITISATION

FABRICATION PRECEDENTS MODULE III - FABRICATE

POST FABRICATIONCONCLUSION

03 - 0405 - 0708 - 0910 - 1213 - 1415 - 1718 - 1920 - 20

PRECEDENTS CONCEPT

3D2Real, created by students from the University of Stuttgart in Germany. The installation is designed so that from whatever angle the honeycomb structure is viewed, the eye is forced to focus on an feature located behind the structure. This precedent encompasses all the design stages undertaken in the semester task. It starts off as a concept, followed by experimental prototypes, then digitisation and elaboration in a virtual context; and finally the construction of the installation. The final product is shown here (Left). It demonstrates the original concept and how it has been carried through to the final product which is very bold and distinguishable.

The computer was not only used to digitise the design, but to hone in on smaller details such as the individual pieces needed for fabrication. The flexibility of the virtual world means that, something that may have taken hours by hand to model, and remodel until suitable can now take just minutes and a few clicks of a mouse. Computer aided design also means that new concepts that revolutionise architecture and design are being born and cast out into the sea of buildings and art galleries across the world. From these concepts fashions are set and readily replicated with the use of these technologies.



The image below shows how the concept was realised. A structure of honeycomb was built and then using a set of rules they were each given dimensions and then depth. By creating this set of rules it allowed the students to control the angle of each honeycomb piece, and focus it in the direction they desired. This resulted in each individual structure being entirely unique from the next. The next step of fabrication would then seem very intricate and time consuming, but because a virtual world has the ability to ‘unfold’ designs into their simplest form, it is then possible to print, and cut these pieces with precision. Finally the pieces are slotted together and the design is complete.

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Concept two takes existing elements of the body that are normally not seen from the outside and places them in a chaotic order to form a headpiece. The idea comes from tracing over the shapes of muscles as shown in these pictures, then creating those shapes with modelling clay and finally layering them in a way that is abnormal to the seeing eye. A precedent for using muscle as inspiration in architecture comes from Gnädinger Architects’ ‘Otto bock’, in Berlin. This medical centre loosely follows the contours in muscle to gain its striking shape.The outcome of this design is not one I choose to pursue because it does not carry any striking features that stand out or make it interesting.

Concept one expands on the idea that performing a certain dance, move such as a pirouette, can be mapped and isolated to form a visual structure. This is expressed in the sketches, which show the movements of a pirouette, then by isolating the movement of the right leg, and right arm, and mapping the location of the elbow, hand, knee and foot, a 3 dimensional structure can be created. An architectural precedent for using dance as a motivation within a building is Frank Gehry’s ‘Fred and Ginger.’ This building ignores traditional lines and follows those of a more romantic idea of two people dancing. This is not the design I choose to elaborate on because I don’t feel it truly encapsulates the idea I began with.

Concept three expresses the result of honeycomb reacting to the heat of the body and melting. The hexagonal structure can be found quite regularly in architecture, (see page 4) It is a strong and recognisable pattern worldwide. It is difficult to model with clay and the model shown here is not exactly how I envisaged the headpiece to look, however the essence of the idea is there and I believe this concept has potential.

Developing further concept three, I moved away from using modelling clay, and onto making a paper prototype. I found it easier to modify and extort the honeycomb structure with paper and I was able to develop the idea further.

AN EXTERNAL ELEMENT REACTS WITH THE HUMAN BODY

PRECEDENTS DIGITAL

▲ ◀ ◀

‘Orquideorama’ , Plan B Architects. Situated in the botanical gardens of Medellin, Colombia. This is a modular design that runs throughout the gardens connecting one ‘place’ to another.

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This ‘bee house lamp’ design by Yar Rassadin was the winner of the ‘designboom’ competition, Swarovski crystal vision.

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3D2Real, created by students from the University of Stuttgart. The installation is designed so that from whatever angle the honeycomb structure is viewed, the eye is forced to focus on an feature located behind the structure.

◀

Mobile performance venue, by Various Architects. This design has an inflatable outer honeycomb structure and an internal steel stage that supports 5 cinematic displays.

The complexity involved in the geometry and fabrication of these designs would have been extremely difficult before the development of computer aided technology.

MODULE II DIGITISATION

In order to digitise the design, it had to be reduced to its simplest form. From advice given by my tutor I decided that its the best way to do this was to use blu-tac and cut out the edges of the design as a guide for where the hexagons should go. Then using the online tutorials as a guide, I set up a contour grid and drew contours into the face of the simplified design. I decided to take it into the computer in two parts, the structure on top of the head, and the drip on the side. The next step was to photograph the contoured model as shown in the last two photos in this strip.

From the photographs, the contour lines were traced over in sequential colour order, and then scanned into the computer. This image was then loaded into Google SketchUp and the contours were traced, elevated and then joined together in a triangulated formation. This process took some time to complete but when the two pieces were joined together the elaboration of the design began. My design would have been too difficult to contour without simplifying it, which means that the majority of the design work will come from digital manipulation of the imported design.

As mentioned on the previous page the majority of the design work comes in the form of digital manipulation. First the design was separated into sections by colour, to define the position of the hexagonal units. Then these were rationalised from 1500+ entities to 824 entities but deleting the experimental manipulation and analysing the bone structure of the design. This bone structure was then edited to a more uniform state as can be seen in the third picture down, and finally the morphing of the shapes was reintroduced. The 4th image is a top view of the final design.

PRECEDENTS FABRICATION

This is a design by MATSYS in 2004 studying the morphology of honeycomb. The project explores the ways in which the hexagonal form changes within the curvature of the parameter in which it exists. Below are several images showing how the idea was generated in a 3D, virtual context, and how by using these programs it is possible to quickly modify and morph the structure by applying a set of rules to it.

◀These images show how a similar ‘unfolding’ and ‘nesting’ process was used in order to deconstruct the model into a simple form to make the physical construction easier

▶The fabrication process demonstrates how the defined pieces on the left are placed together logically from the ground up in order to construct the installation

▼▶ This is the final product of the process shown over the last two pages which is not dissimilar to the process demonstrated in this project

MODULE III FABRICATE

Fabrication was a multi step process that started with the completed digital model. The first step was the decide how to ‘unfold’ the design in SketchUp. I decided to separate my design into individual hexagonal units, which are represented by colour. Then using the ‘unfold’ plugin, I unfolded each section of the design until they were all completely flat. I then ‘nested’ them together, ready for printing. Once they had been printed, I used a pin to mark out the intersection points of the design and then trace lines between them onto 250GSM paper. I then marked the base of the design, to make it easy to construct when cut out. The next step was to cut tabs onto the design and then finally construct each individual piece with superglue/pva glue. The next slide shows all of the pieces when they are glued together. The biggest issue I encountered when fabricating the structure was that some pieces didn't quite fit together, this is a result of there being so many steps involved, meaning the possibility to change the measurements is greater and somewhat expected. A way to eliminate this would have been to use the FAB LAB to laster cut and score the nested pieces. It would also have saved a lot of time if I had of done it this way. Another issue I encountered was using Superglue instead of PVA glue, I chose to do this because of the size of my model and its intricacies, unfortunately the superglue leeched through the paper at some points, changing its colour.

These images highlight the change in dimension of the hexagonal components as they morph from their traditional form

POST FABRICATION

The headpiece in use: The external influence of the sun heats the h o n e y c o m b a s i t moves down the side of the head

MODULE IIII SARAH REESSTUDENT NO: 388569 SEM 2/2010 GR:6

An external element reacting with the human body is how this design began. Specifically honeycomb, reacting to the heat of the human body and the sun, and morphing into drops of honey down the side of the head.

This has been a valuable experience in model making and how to think conceptually, and also about when to let the concept go and elaborate the design within the parameters of the set criteria.

Engender was the start of thinking in a new way. A start on learning how to think about thinking. How to analyse a criteria and create a concept, or three. I found this process time consuming as I was not aware of how to begin. Eventually I just began to sketch and over several days I gained more and more ideas, and by recording them all I was able to choose which ideas I liked more and explore them further. Modelling in clay was difficult when trying to make shapes smooth, or trying out intricate designs, so I found modelling in paper easier for my particular design.

Digitisation and elaboration was all about exploring new techniques for me. It was really interesting to learn how to take a physical object and re-create it in a virtual context. Due to the fact that my design was quite intricate, I had to simplify it to digitise it. This meant that I spent a lot more time editing it in the computer in the elaboration process.

Fabrication is where I feel I have learnt the most during this task. There are so many things that can go wrong, that change the model ever so slightly. If I were to do this again, I would opt to use the FAB LAB to cut out my template, this would eliminate the size difference issues that I encountered and make the whole process a lot shorter. If I were to make this again by hand, instead of copying the printed template to the 250GSM paper I would glue it on top and then cut it out. This is another way I could have sped up the process.

If I were to repeat this entire process I would explore more advances programs such as Rhino, and use the ‘grasshopper’ plug in tool to extend my model ever further. I would apply rules to it like the 3D2Real installation by the students from Stuttgart, and create and interesting view from all perspectives. I would also make the initial hexagons more structured and then the morphing would be more evident in the rest of the design.

I feel that my model is best viewed from the inside as this is where the original concept is most evident.

Overall the process was valuable in teaching me new ways of thinking, new techniques and it helped me experience mistakes that I can learn from in the future.

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by Hans Eko Winardi377322 - Semester 2/2010 - Group 10

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Enric Ruiz Geli at his work Aviary in Barcelona Marine Zoo may reflect an inseperable relationof virtual CAM technolgy, digital architecture and the inspiring nature. He implied the idea ofa fluid continuous surface that has been around In many Antoni Gaudí’s works. He also said that

"People dreamed of this but could never do it. Digital technology, parametric design have allowed a level of complexity that couldn't be built before. The skin, structure, climate, technology are all in balance. It allows us to build today the utopia of before” (Ouroussoff, 2008)

His work, therefore, can be a good paradigm of the artificial natural world that inspiring, arresting and zoomorphic. The huge aviary puts across a line of thinking about interaction between people and their environment, observer and observed, inside and out - at once a huge artificial tree and a new "natural" topography of seaside dunes. A 9,000m2 ground plan,its asymetrical and the longitudinal geometry of this building has been purposed for a longer aerial space for bird flying and habitat. While the main construction is creating two surfaces of continuous stainless-steel mesh, the hydroponic tree structure in the middle will be an airport for nine species of birds – their nesting and their activities.

Design Precedents // p.1

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The process of building the tree in the middle of Aviary Barcelona is also digitized in computer.

A. Existing pine tree: “pi de bofarull”, 25m high x 40m diameter

B. Sculpted trees using 3DMax softwareC. Fifteen branches, handmade drawings by asian

artistD. Map of links of the 3D model, 72 pointsE. Path 3D model, 10m longF. Model of the polygons, different diameters from

40cm to 50cmG. Development of 61 polygons using formZ softwareH. Romboid pattern calculated from the strong

forces appliead in autoCAD, 80% transparencyI. Sustainability plan for the use of 2x1m stainless

plate, by the laser cutter software systemJ. Plan of the laser cutter pathK. Laser cutter for stainless steel, 4mm thicknessL. Laser in useM. Cutting process; a 4 m long branch = 8 hoursN. Blending process, 30 ¼O. Dodecahendric polygonP. (P to S) Prototype images

3D Modelling of the 4m long branch prototypeArtificial PVC mesh, external skin of the HP capsuleNatural coconut fabric mesh, interior skin of the HP capsuleHydroponic (HP) cultivation capsuleRelationship between the Aviary mesh prototype and a few birds

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One manifest project of AEDS by the architect Ammar Eloueini that related to spesific triangular shape isCalifornia. This theatrical dance performance was designed to show a manipulation and a flexibility ofgeometrical and spatial engangement between the performers and the set of computer-generatedgeometric surface. This architectural space could be vital in terms of light playing, material andfacetted incision for small scale; this set is indeed “an architecture of expectation” (DADA architettiassociati, 2004; Spiller, 2008). By less equal budget of $2000, a translucent polycarbonate fabric-patternlayout was segmented and could be zipped in a small suitcase to be easily reassembled at anotherperformance. Likewise, producing a head piece with similar triangular geometry might allocate designinspirations that not only be used as an apparent head but also, with less cost, could functioned as alamp, a clothes hanger or even a small space to put small items.

California, a performance that involves the processes of assembly, dancing, lighting and partial disassembly

(Photos 1-8) between dancers, light and triangular geometry segmentations

1 2 3 4

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Engender // p. 4

Through Sketches, I started to develop some

ideas into realization. Most of the draws were formed as a brain-

storming and it was not exactly same when it was made from the actual clay.

Before the process begin, the Materialswere well prepared including the digital

camera that would be used often.Materials were not always be

cheap or expensive but it can be used as

effectively and efficient as

feasible.

Engender // p. 5

LeftviewTop view

Isometric view

Back view

Right view

Front view

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One of many Pilates Movements has inspired me in doing the first model. The complexity of human body, notably a woman body has developed

special curves that could produce an interesting geometry in digital modelling. Human body is a preference for many films,

games or even for many scientificstudies and researches. Instead of

generating a continuous and repetitive movement to my model, I used the idea of Pablo Picasso “Bull” where then I tried to simplify the complex human body into more abstract and simple form.

Pablo Picasso “Bull” (1945)

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Engender // p. 6

Left viewTop view

Isometric view

Back view

Right view

Front view

The mother of bla

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The Spider Egg might be a good name for this idea. The poisonous black widow spider is very popular with its one-hit-ko venom. Indeed, when the breeding session is coming, the male spider is often eaten by the female after he injected the sperm into the female. Although this might be unfortunate life for the male, the female now is carrying her next vulnarable existence. Considering this natural process, I captured some of ideas from the mother of black widow who is making the nest for her eggs. It might be said that black widow is scary and poisonous, however, the presence of mother even non-human creature will always protect her children. In this context, the hat design might be quite relevant to Enric’s work and Pablo Picasso “Bull” where the comp-lex nature can be simplified into more abstract, with-out much details but still representing the overall shape as its framework.

My head can be assumed as spider’s egg whereas the spider is producing a serial of webs

surrounding the head toprotect the egg.

Engender // p. 7

Left viewTop view

Isometric view

The Chosen Design was inspired from the situation in my country, where there are a lot of people who do not care about their living condition in urban area, the city and their natural environment.

Regarding the place I study now, I was thinking to apply nature in this context as Enric did. Australian common native plant, the Eucalyptus fruit and leaves which show a growth process in my mo-del was transformed into a hat design. The model itself show the cha-racter of bonsai tree with five roots that represents someone’s hand. This representative was explored in the situation nowadays, the people’s inten-tion to consume resources yet reshape their nature.

Pointing out the the real condition that happen to environment, a hand can be something that intri-gue people’s thought about nature. Does nature shape us? Does the bonsai root like a hand control the headpiece’s user or has the roots been controlled by human’s hand and people haven’t changed this condition because it is grabbed tightly on people’s head? Does people shape nature? Tough there are two possible choices from my inspiration, perhaps, people should learn to think in different directions. Therefore, people may find more possibilities for answering what current condition must be sought carefully and which factors must be done firstly.

Back view

Right view

Digitize & Elaborate // p. 8

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Front view

Right view

Back view

Left view

Bottom view

Top view

Based on my head design, Point Cloud might be a simplermethod to be used rather than contour. This is the first step ofdigitize with google sketch up. The clay model was firstly pointedwith pen, the points were not necessarily tidy or too many.Indeed, more quantity and more parallel the points are, the moreeasier the model will be traced and worked on google sketch up.It was then compulsory to take the orthographic projections withthe correct scale comparison. After that, each photo was scaled1:5 and set appropriately in order. Tracing could be done withthe help of pencil tool whereas some unseen points could betraced at some degrees and approximations.Finally, each point of traces were vectored and pulled to matchand shape the hat. In this process, however, I did not usenumerical annotation because there are so many points and itmight be confusing to work with so much texts when tracing.


Orthographic projection is once again shows the different

dimension of the model. With the head template, it is also clear that the model can be used at different angles and rotations. Thus, a proper size

of head size should be measured at the next steps.

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Patterndots were

transformed totriangles to create

a growing pattern on the fingers of the model. This

pattern was often use on many design practices. (photo 1a&b)

Aboriginal carving art was used to produce pattern over the dullness of the model. Back to 400,000 years ago when the oldest artefact of aboriginal art was found in Pilbara, Western

Australia in the form of stone engraving; Aboriginal people believe that their art was their ancestral work rather than a human work. Engraving or petroglyps itself is an obsolete

technique where stone surface are carved by either rubbing (abrading) or hitting (pecking) by other stone or object. Recently, many aboriginal arts are adopted

in smoother surface or other forms of surface but still with its pecking pattern (Aboriginal Art Online, 2010). Through mimicking different size of the dots

and transfromed it to triangles, I produced the pattern of lizard (photo group 2&3)on my model. Patterns were used only to make the model

recognizable; instead too much patterns would make a blur head piece. Thus, the pattern was simplified to create more space for

tabs later on fabrication without losing the frame of lizard.


Simplifyingtriangles is another

important aspect to ma-nage and improve the time

efficiency in fabrication process.

However, the digitize process was more time consuming than fabrication. Indeed, only

few attempts were successfully pro-viding an easier and modest

looking structure.

Face Reversalhas to be done firstly before the

fabrication process in order for the triangles to be unfolded at the same direction. The reversal

could be done for either blue or white surfaces. In the process, I used white surface instead because it is clearer for

annotation and finding any common errors or modelling mistakes

Noted that oversimplify is also inproper in the modelling because many triangles are needed to create a

subtle design, considering also that rigid material such as ivory card will be

Used to produce a stronglayers or frames.

Fabricate // p. 12

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is profoundly required. I found my head size has similar size with the head template. Thus, I used two

head templates to make a sphere for the head so the

model could be worn on many directions. Then I simply made a contour approach, 50 mm down

from the top of the head as illustrated on photo 4.

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Fabricate // p. 13

The Starting Point is where there are some considerable affects could be identified initially under the unfolding process. For example, some try outs found many acute points on the edge of unfolded triangles which in long term it could create a susceptible fabrication.

Changing the end of one peeling of triangles or trying different cutting with more an obtuse edge could minimize any rips that could appear during fa-brication. Nevertheless, some acute points a susceptible attachment could not beeluded. Thus, the first indica-tion for later attachment process should create an enough space for tab and ensure that this tab would be glued strongly to sustain the sharp triangle with very minimal shreds or barely visible glue traces.

Meanwhile, uncareful tracing could cause unfinished lines, un-connected edges due to google sketch up error and many disturbing tiny lines on the edge (photo 1-7).

An acute unfolding point would create a

susceptible fabrication

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7

1 2 3

Through multi-zooming, tiny lines might cause inappropirate matching point.

Fabricate // p. 14

This method might be helpful for indicating the correct pair of unfolded

pieces at fabrication. Then, nesting could be

process by firstly changing the lines’ color

– black is cut, red is scored andgreen is

penned (photos 4-6).

Different colors were used while letter annotation

was ordered numerically

following its color (photo 2).

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2 3

1

Noted that all pieces should be at proper scale

before fabrication and printed

through fablab.

Before Nesting process,the unfolded pieces

should firstly annotated, colored and manually

tabbed with the help of offset tool for along 0.5

cm outwards rather than using glue tab tool that could not work properly

(photos 1-3).

Fabricate // p. 15

Four printed nesting pieces

Blade cut the tab lines Manual annotation before cutting

A pile of cut annotated pieces

The fablab’s card cutter machine

An A

nnotation example

Due to no gap on manual tab before cutting

Allowing a small gap on cutting lines –tab lines of the model – would makethe cutting machine working faster and minimize a messy cut. Some clear examples are shown onthe photos. Tape prevents the pieces to fall apart.

Fabricate // p. 16

The following steps are a rough guide of Assembling Process.The process was divided into three sections which was initiallystarted from the middle of the bottom, through the left and theright sides, the section of the branch and the long flat piece forthe last part. Photo 5 is the picture of finished model.

It could be said that a considerable time and effort wererecognised as the greatest difficulty in making this model. Gluingeach pair of tabs for each piece could consume more than twodays non-stop, even deciding which tabs should be cut ormatched with the surface were initial things to do, it was alsotime consuming perhaps a week non-stop.

Indeed, the finished construction was keenly and patientlymade so only small trace of UHU glue was seen and all unfoldedpieces could be fit properly to each other.

Fabricate // p. 17

Right view

Front viewBa

ck viewLeft view

Free-Standing Isom

etic viewOrthographic Projection

shows us again the basicdimension of the model. After assembling process

was done, the result of fabri-cation and the remaining digital

model might be compared to show the differences and to make an assump-

tion that digital modelling is a fundamental aspect for the future designer, this includes

architect, game designer, engineer, etc.

It could also be seen that isometric view was no longer used on the head but it

could stand freely by the support of the hat’s branch. This assumes

that the quality of chosen material, not only for a

small project like thisbut also other big

infrastructures, should be care-

fully comprehended while it could minimize

any fault in the process andin the long term provision. The use

of ivory card for this model can be setas an example of good material. How-ever, there are still many materials that have more rigid and strong quality ra-

ther than ivory card, noticing thatthe thickness of material was

an important consideration.

Reflection // p. 18

Throughout the processes – engender,digitize, elaborate and fabricate –creativity is found as a concept ofgenerating an idea or some ideas intorealization. Ideas can be influenced bydifferent factors such as behaviour,culture, forms, nature or even abstractionof something. Recall my first idea where acomplex human action can begenerated as simple hat form, whereasnature and its complexity weresuccessfully appreciated through thesecond design. Meanwhile, adoptingwhat nature gives us and combining itwith the idea of simplifying has beenproperly set the chosen design.Comprehension of an idea, the functionsand the realization was developed andever changing during the process. Thechosen design for example – EucalyptusHand – was created firstly only as a shapeof bonsai tree that can be used forputting water bottle; however, the shapemight only be exactly the same at a veryshort period of its imagery andenormously changing in the longerprocess. Even an accidental process inmaking clay could become an interest forgenerating a new concept whicheventually becoming an idealization ofthe first idea.

Reflection // p. 19

In the realization, some reasonings haveto be identified and have been identifiedthrough the process of digitizing andelaborating. Digital media, such asGoogle sketch up as a virtual software,has provided us with a whole newopportunity to access our imaginationand realizing it in the future and the reallife. This new era of information and digitaltechnology, there are endlessopportunities that has not yet usedequally by all people. However, digitalmedia and software have been appliedsuccessfully since few past decades onmany architectural design, notably fromthe revolutionarist and naturalistarchitect, Antoni Gaudi to the presentfollower of his idea, Enric Ruiz Geli.

Through an applied reasoning inside thedigital media, many ideas and forms untila specific and very complex curvatorygeometry could be designed efficientlyat great reductions of time, materials andwith only small limitations. Indeed, someerror lines in the model when it wasdigitized were found as one kind ofcommon limitations. Perhaps some similarerrors can also be found in many otherdesign software such as ArchiCAD, 3DMax as well as google sketch up.

Reflection // p. 20

Fabrication is an interesting process where thereasoning of digital model is now can be builtinto realization. Before the process starts, someindications must be properly thought. Materialoptions for instance has to be a good quality,strong enough to be built and has the correctsurface so that the unfolded model can beeasily glued. Moreover, the tools for cutting, theglue and the working base are compulsory.With some helps from fablab, 1 mm thick ivorycard was good enough to be used as a basefor the nested pieces and could be cut at veryefficient time.Thus. I now learned how time efficiency is animportance aspect to consider in many worksespecially when facing the real life. Anarchitects for instance should create such aninnovative idea while they also compromisewith the demand and the issues from thesociety. Moreover, I also learned how toorganize an appropriate presentation whileimproving the speaking skill from presentation.Many other issues such as willpower anddilligence have been changelled up to the limitwhich eventually was resulting a goodpresentation and a complex head piece.Likewise, development of the process is therebyan important part that needs to be carefullyunderstood throughout the whole work. . A

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HEADSPACE 2 Virtual Environments course

Semester 1, 2010

Bachelor of EnvironmentsFaculty of Architecture, Building and Planning

University of Melbourne

headspace 2

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