Project 1 - Parametric Object Design
Last updated
Last updated
This project is an exploration of growth processes that result in voronoi partition structures, as well as an exploration of the process of digital parametric modeling to create real-world art objects.
Parametric modeling is a design approach that uses an algorithmic perspective for generating forms. In this project, I was interested to develop an understanding of how to create patterned surfaces that have an organic structure. The images below show that the upper edge of the dragonfly wing is rigid with many horizontal structural members, where the lower edge of the wing has a more delicate curving surface. The cell structures within each wing show patterning similar to voronoi partitioning, so I'd like to explore the algorithmic nature of these structures.
Inspiration Natural Voronoi Patterns in Dragonfly Wings
The inspiration for this project is based on previous personal work - using silver metal clay as the final product material for a necklace made in 2005. I had explored creating dragonfly wings that used the plique-a-jour enamel technique. In this process, I created metal organic wing structures to resemble dragonfly wings, then filled in the voids with multi-layered glass enamel. In that process, I took black and white photographs of a cicada wings, then used photopolymer print plates to create a stamp which was used to imprint the form on metal clay material. The necklace won an award from Japanese Association for Leisure & Culture.
The process to file out holes in the wing voids was time-consuming and resulted in wings with a larger structure than a true dragonfly wing. I hope to develop a better understanding of the algorithmic structure of dragonfly wings so that I can eventually create more realistic dragonfly inspired art objects.
For the current project, I wanted to use parametric modeling to create a similar wing inspired structure. I used Grasshopper3D and Rhino to create an organic surface that had perforations at the voronoi site centers.
In order to create an object that can be replicated using traditional mold making techniques, I need to make modifications to the perforated voronoi surface, such that there is a membrane layer that bisects each voronoi extruded cell. This central membrane surface allows for creation of a simple silicon mold.
My parametric modeling skills are not advanced, so the objects that I create are very simple. I am able to embrace the resulting simple forms as part of the learning process, and this challenges me to use craftsmanship in the modeling and casting stages so that I can learn this digital fabrication workflow.
As Neil Gershenfeld describes it, the process now translates from 'Bits to Atoms', this refers to the fact that at this point, the object is essentially a mathematical structure, encoded in a digital format. In this instance of the process - Our 'dream becomes real'. This is the watershed moment in the process, we create an instance of this virtual object, and then we proceed down the a path of transformation processes, in each step of the process we are transforming some representation of the object into a new representation. This literally means that we go through a process of creation, copying, and replication changing materials in this fabrication chain.
A mold of the 3D printed object was created using Dragon Skin, a high performance silicone rubber. Prior to creating the mold, a thin epoxy sealer, XTC-3D was brushed across the 3D object surface, with the goal of smoothing the 3D printed surface. The dry-time of the sealer limited the number of coats that I was able to apply, and the fact that I rushed this phase meant that my surfaces have an undesirable rough feel. In the future, I will make sure not to rush this critical phase of the process.
The images below show the translucent cast resin forms. These objects have been twisted during the resin-drying process to enhance the organic look and feel. The resin objects had a poor surface quality after casting. The surface showed air-bubbles and 3D print surface features which detracted from the simplicity of the forms. In addition, the outer curves seem a bit oversized. In future iterations, I will reduce the diameter of the outer curve, and there will be additional inner sections of voronoi cells, with multiple structural curves defining the wing sections.
Sanding the resin objects using a set of 3M sanding pads provided a method to refine the surface of the forms. These sanding pads can be used with water, this insures that removed particles are washed away during the sanding process. The final forms still have minor surface imperfections, but these sanded forms can be coated with an epoxy finishing coat and then become the form for creating a new, refined mold, so that subsequent casts don't need as much finishing. The sanding process creates a subtle matte finished surface on the resin, this enhances the look of the piece, so I plan to do a matte sanding process to all resin pieces to replicate this finish.
The Rhino project was exported to a 3D print format and printed at shapeways using their flexible plastic material. The 3D object resembles a piece of coral that you might find along the beach. When I look at this object as an organic form, and no longer try to see it as a dragonfly wing, then I am able to start to envision new possibilities.
