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Module 1 Ideation

Kevin Zhang - 639878

ENVS10008

Natural Pattern - Nautilus Shell

The spiralling pattern in the nautilus shell has been chosen to be the base inspiration for the subsequent analytical drawing and ultimately the lantern. The Fibonacci spiral pattern has been chosen as the pattern is very structured and orderly, where the lines and boundaries of the pattern are strikingly visible. As well as this, the pattern has a clear sense of direction, with the formation spiral-ling towards the centre.

A very structured pattern will inspire a very structured lantern, albeit an abstract one, and this is generally more desirable than a chaotic structure.

The analytical drawings addressing symme-try, movement and balance will be pro-duced from the nautilus image on the left.

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Analytical Drawings

1. Detail the basic composition of the pattern in thin pencil line.

2. Identify and mark the vector lines as well as construction limits supporting the struc-ture.

3. Accentuate the principle vectors and the core shape by detailing it in a thicker line to create depth.

Recipe

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3 Stages of Analytical Drawing

According to Kandinsky in 1928, the process of analytical drawing was divided into three stages, each with their own subsidiary aspects and tasks.The first stage of analytical drawing was to condense the com-plex form into a simple structure, which is precisely outlined. Another task specific to the first stage of analytical drawing was to distinctly characterize each of the individual parts of the whole structure, both on its own and in relation to the en-tirely of the overall structure. Representing the whole structure is a succinct and concise schema entailed the final require-ment of the first stage in analytical drawing.The first stage was incorporated into the analytical drawing showing symmetry, as it was the most succinct and concise drawing, which emphasized the overall shape of the Fibonacci spiral. It also demonstrated the complex structure of the nauti-lus shell into a simple form.The first task of the second stage in analytical drawing con-sisted of clearly representing the tensions present in the struc-ture by means of linear lines. The second stage also required students to broader lines to outline the principle tensions in the system as well as using a focal or radial point to determine the structural network of the overall piece.

This was incorporated in the analytical drawing for balance where the construction limits of the piece are outlined distinctly in broader lines and the tension lines for the secondary inner spirals are displayed.The third stage of analytical drawing emphasizes the radical and freer aspects of the second stage and ultimately is a more abstract solution. The objects are almost only outlined using the tensions between forces and the construction limits itself. The third stage also consists of a variety of clear and concealed construction possibilities and exercises the concise, exact ex-pression of the individual tensions.The third stage is evident in the analytical drawing for move-ment as most of the fine details, such as the secondary inner spirals, have been omitted and there is a focus on the tension lines. The tension lines for the inner spirals as well as the tangent forces are present.

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Rhinoceros 3D Tutorials

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Pattern Formation in Nature

The nautilus shell pattern is based on the Fibonacci algorithm. The nauti-lus spiral results form the Fibonacci mathematical analogy and equiva-lences, which govern its formation. The Fibonacci spiral is a regularity in nature, and the nautilus pattern chosen is just one example. The forma-tion of the nautilus shell in nature is a direct result of high temperatures and stress, which mold the shell into its shape, and the cooling which sets the pattern into place. The final structure is a result of heating and cool-ing driving forces which conflict with each other.The formation of the pattern originates from the repetition of the move and scale functions. Each of the inner spirals has been scaled from the previous spiral, which is larger, and is moved into place so that it contin-ues to spiral towards the center.

The second paper model, which is based off the nautilus shell, is clearly influenced by the Fibonacci spiral. Each step in the paper model rep-resents each of the inner spirals of the nautilus shell. The transformation from inner spirals to steps on a staircase is clearly emulated in the paper model. The difference in height with each component of the model adds to the three dimensional aspect of the structure as well as breaking the symmetry of the model. Although the original nautilus was symmetrical in the sense that it could be divided into repeating shapes, the paper model cannot be symmetrical as each component is different than the others in terms of height and size, and ultimately shape.

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Process-based Design

Fibonacci spiral is evident in the complex build-ing below. Although the structure is not an exact replica of the Fibonacci spiral, it is definitely clear that Fibonacci has influenced the design and the concept of the building. The dome part of the building spirals out into the rest of the building. The orange spots on the dome form the lines of the spiral which radiate outwards. The entire structure is curved and almost no edge of the buildingis straight.

The staircase is clearly based on the Fibonacci spiral, which creates a Fibonacci staircase. The fibonacci staircase, similar to one pictured below, is also an element present in the second paper model. The staircase below can be seen sprial-ling downwards into a centre point, whereas the paper model is seen spiralling upwards as it pro-gresses towards the centre. The rails of the stairs serves to outline the Fibonacci spiral structure of the staircase.

Model below is also based on the Fibonacci pat-tern which spirals outwards.Each of the tiles contribute towards the spiral-ling pattern. The tiles closer towards the centre are smaller than the tiles that are further from the centre. This is an example of complex generative patterning as the main tranformations needed to generate the tiles is scaling and moving.

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Paper Modelling

The first 3 dimensional paper model was based on the analytical drawing on the nautilus shell pattern for symmetry. The analytical drawing was very balanced and symmetrical. It was found that the recurring shape was repeated in the drawing, but gradually became smaller and smaller as the nautilus progressed further in towards the centre radial point. It was also noted that the smaller shapes nearer the centre of the pattern could fit neatly within the larger shapes that were further away from the centre point. The analytical drawing was based on the symmentrical lines which divide the fibonnacci

spiral into a repeating pattern of similar shapes with the same pro-portions. The paper model was based on this pattern generated by the symmetry lines. Scaling was a major factor in the model as each individual shape was scaled with the same proportions as the previous. The resulting model turned out to be more simplistic than expected. It felt very 2 dimensional and lacked depth. Although the overall concept was interesting, the reality turned out to be much more basic and fundamental than what was initially thought.

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Paper Modelling

The second paper model was based off the analytical drawing for movement. The second model added an additional layer of depth that the first model lacked and ultimately is a more 3 dimen-sional model. From the analytical drawing, the way that movement was represented implied that the mautilus shell looked similar to a stairwell, which each step being higher and higher as the steps progress towards the centre. The shape and size of each step was dependent on the inner shells of the original nautilus pattern. Each step became progressively higher by increments of 5mm per step. The centre beam was

an inconsistency within the pattern as it was much more than 5mm higher than the previous step. This made the overall piece more resemble a staircase and added a level of abstract. Although the fibonacci pattern from the nautilus shell is clearly evident and influenced in the model, the model does not resem-ble a nautilus shell in the slightest. It is far more complex than the first model and thus required a susbstantially greater amount of time and effort to complete.

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Clay Modelling

The first clay model takes the shape of a spiralling form. Although the model does not spiral into a point, like the Fibonacci spiral, the spiralling is still evident nonetheless. The model was designed to be worn on the arm, like a sleeve. It was intended to act as a sleeve because holding the form in the hand would prove very exhaustive consid-ering the long nature of the form. As this model was made during the experimental phase of the clay modelling, the scale is 1:5 to see how the form looks in thebig picture. Although the lighting effects have not been added, the form would work well with the slit lighting effect as it provides adequate light without other people being able to see through the form.

The second model represents a form that is spiralling upwards towards a centre apex. Although the form here is free standing, the model is intended to hang upside down, with it being held at the base. For this to be usable, the size of the lantern would be relatively small otherwise weight would be an issue. Again, the model is in a 1:5 scale as it was still in the phase of experimenting with different possible shapes. The lighting ef-fects for this model would be direct light. This keeps the model simple without complicat-ed the form with too many lighting effects.

The third model replicates a form that is spiralling upwards towards a centre apex. However, the spiral is represented in steps, which spiral towards the centre in incre-ments. There is another spiral that curves around form, just above the steps. The choppy, structured form of the stepped spi-ral contrasts with the liquid form of the sec-ond spiral to create a balance between the two The model was intended to be worn as a sleeve, with the centre step being thread through the arm. Again, a 1:5 scale was used. For this model, extrusion lighting was considered to create the lighting effects. Each of the steps would be hollow, which would create a complex range of lighting effects from the extrusions.

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Clay Modelling

The clay model is a 1:1 scaled model of the emerging form. The model is a mixture of both the first and second clay models on the previous page. Although the clay model is very dense and heavy, the lantern is intended to be hollow, with only the outer layer being material. The base is intended to be narrow and spiral outwards wider as the form spirals upwards, before spiralling inwards into an apex. The advantage of the lantern being narrow at either end is that it can be worn either way - convenience and proficiency. The long and narrow nature of the lantern allows for the lantern to be easily worn on the arm. The lantern could act as a sleeve and an extension of the arm. However the lantern also provides other ways of wearing it. The model is only part of the lantern as the model will continue to spiral upwards.

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Function & Effects

Figure 1: Hand-held Lantern

Figure 2: Leg Worn Lantern

Figure 1: Sleeve Lantern

Figure 3: Direct Light Figure 4: Extruded Light

Figure 5: Filtered Light

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Lighting Effects

The image to the left illustrates the type of lighting that is ultimately desired in the finished product. The goal is to achieve a symmetrical and well balanced shadow projection such as the shadow in the image. The symmetrical and balanced shadow remains consistent with the struc-tured form of the Fibonacci spiral in which the lantern is based on. An unsymmetrical or chaotic shadow would not go in con-juction with the very neat and layed out structure of the lantern.

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Final Design/Proposal

The design represents the pattern of motion of the Fibonacci spiral. The form spirals toward the apex, which reflects the Fibonacci spiral, which spirals towards acentre or radial point. The very consistent nature of the spiral related to the very structured movement in the form of the Fibonacci spiral. This shape has been cho-sen as it is fluid and adequately represents the fluency of the Fibonacci spiral.

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References

Nautilus Shell:http://www.artsyhome.com/2011/11/Nautilus-2-Detaily.jpg

Process-Based Design:http://sites.cdnis.edu.hk/students/084388/files/2011/09/Eden.jpghttp://www.inhabitat.com/wp-content/uploads/wildflow-er_aerial-view-reva.jpghttp://1.bp.blogspot.com/-CTFDmawUM1U/TZnaGZ4IeMI/AAAAAAAAHUI/_YonCq74-s8/s1600/IMG_7808.JPG

Lighting Effects:http://www.archlighting.com/Images/tmpF97A.tmp_tcm47-1723196.jpg

Natural Pattern References:Ball, Philip (2012): Pattern Formation in Nature, AD: Archi-tectural Design, Wiley, 82 (2), March, pp. 22-27Poling, Clark (1987): Analytical Drawing In Kandisky’s Teach-ing at the Bauhaus Rizzoli, New York, pp. 107-122Golden Spirals and Ficonacci Spirals. (2012). Retrieved from: http://www.goldennumber.net/spirals/