module one journal

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VIRTUAL ENVIRONMENTMODULE 1: IDEATION

ANGELICA GUANDINATA#613257 | Semester 1, 2013 | Group 6

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COURSE OVERVIEW

Create a hand held lantern that is con-structed from paper or card only. The lan-tern must consider a variety of aspects, such as : the ligtning effect, how it can be held, the size of the lantern and the design itself.

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NATURE PATTERN

In the first week of lecture, we were asked to find a pattern inspired by nature. As mentioned by Paul, there was a certain pattern in every kind of natural phenomenon and through that pattern our journey of making a lantern began.

Although there were numerous natural patterns to choose from. The wide selection of variety spoiled me for choice and that led to indecision. However, after much deliberation and consideration, i managed to nar-row down my options and finally come to a solid decision. The pattern that i settled for was that of a tropical storm cell one. The reason why i chose this particular pattern was because I found this pattern to embody all the ideas of movement, balance and symmetry. It’s simplistic design allowed me to manipulate the basic geometrical shapes to create 3 different designs all inspired by the tropical storm cell.

Furthermore, after choosing the pattern, we have to produce 3 analytical drawings based on 3 different components. Kandisky’s teaching was simple and easy to follow in order to discover patterns from the tropi-cal storm image.

“[Pattern] as a sequence, distribution, struc-ture or progression, as series or frequency of

repeated/repeating unit, system or process of identical or similar elements.” -Mark Garcia, Royal

College Of Arts

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Recipe:

1) Firstly, divide a square piece of pa-per into 4 quardrants 2) Locate the centre of the square pa-per and use a pencil to mark it out3) From the central point, extend a spi-ral structure outwards in an anti-clock-wise motion4) Repeat step 3 until you get a desired equally spreaded out series of spiral ‘arms’

Recipe:

1) Firstly, divide a square piece of pa-per into 4 quardrants 2) Locate the centre of the square pa-per and use a pencil to mark it out.3) Starting from the central point draw a continuous spiral line in an anti-clock-wise fashion until you get your desired pattern

The basis of this pattern’s symmetry in the figure is due to the fact that the pattern can be divided equally.

Recipe:

1) Firstly, divide a square piece of pa-per into 4 quardrants 2) Locate the centre of the square pa-per and use a pencil to mark it out.3) Starting from the central point draw a continuous spiral dotted line in an anti-clockwise fashion until you get your spiral that extends to ends of the paper.4) At each outer ring, fill in some dot-ted lines such that you produce a solid line instead. Do this until you create the desired pattern

The anti-clockwise rotationary direction of the tropical storm cell emphasises the movement of the pattern.

The pattern shows balance in terms of lighting. The lines represent the different shades of colours. The solid line portrays a darker composition while the dotted lines are presented by a lighter composition.

SYMMETRY MOVEMENT BALANCE

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PAPER MODELSIn the second week, the process of the pattern developmet was taken to the next lev-el. The task at hand was constructing paper models based on 3D extrusion of pattern and one emerging from free base.

The 3D extrusion of the pattern is shown in the figure 1a. It is based on my analytical drawings that constitutes symmetry. It follows the anti-clockwise motion and the extru-sion produces a three dimentional form. Several recipes are involved in the develop-ment (next page).

The free form was inspired from my 3D extrusion of pattern, but the different kinds of designs and patterns was a result of various techniques that I applied. I twisted the basic pattern and it incredibly created different patterns. It produced the infinity shape which was a pleasant surprise. Furthermore, I used different scales so that it produced more interesting shapes and affects.

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RECIPE

1) Cut two pieces of paper approx 1.5 cm and join it together.2) Repeat the first step until you got the whole bunch of spiral formation and glue it all together. Remember, it only has once center point.3) Get a piece of paper (1.5 cm), glue it to the center point and direct the paper to the center point, so it will intersect the base pattern. 4) Repeat the step 3 in a different scale.

1) Cut a piece of paper approx 1.5 cm2) Twist the paper twice so it formed the infinity shape.3) Scale the infinity shape into twice bigger So, now you have 2 different sizes of inifinite shape.4) Array the smaller shape and it will create a bun-dle of infinity shapes.5) Mirror the small shape and join the smaller and bigger so it will form a hot air balloon lattern.

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DIGITAL MODEL

Perspective point of view Perspective point of view

Front point of view Top point of view

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PRECEDENT

COCOON OFFICE

Zurich, Switzerland, 2007Cocoon is a 1,900 sqm office building that represents the Swiss life in Zurich designed by Camezind Evolution.

The shape and the pattern of the building which is elliptical and spiraling, appears to have an identical pattern and shape as my 3D extrusion pattern.

Moreover, the interior of the building itself was built spiraling up from the groud and it creates a distinct and innovative approcah.

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The Infinity Building

Melbourne, Australia, 2012

This award winning building is designed by Melbourne architect, McBride Charles Ryan (MCR). The project was built as a new Year 11&12 senior cam-pus for the school at Penleigh and Essendon Grammar School in Melbourne.

The layout is based on an ‘infinity symbol’, which has the same shape asmy free form model.

However, the process of the building is facing numerous engineering and construction challenges, as a result of the building’s innovative design con-cept.

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CLAY MODELLING

In the third week, the development of the emerging forms continued. In the workshop we were asked to make a clay model originating from our emerging forms.

I came out with 3 three distinct models with its own uniques structure and considered various fea-tures. Then, finally amongst the 3 models I chose a final design of my lantern.

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SKETCH PROPOSAL 1

The first proposal originated from my 3D extru-sion of the pattern. It does look like a stack of bowls and it follows the anti-clockwise move-ment of my tropical storm pattern. The base of the lantern will get bigger as a result of the scaling rule.

Moreover, the lantern will be held with one hand. It may look like you are holding a huge torch instead of holding a lantern.

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SKETCH PROPOSAL 2

The second proposal originated from my free base form. Basically, it is an infinity sym-bol. The idea was discovered by observing the anti-clockwise rotation of the tropical storm pattern. Afterwards, I developed it further by twisting and surpisingly I came across the infinity shape. By applying scaling and mirroring rules, a series of long chains were achieved.

Furthermore, the lantern will be held with two hands in order to produce different de-sign. The usage of two hands to hold the lat-ern is to serve the purpose of differentiating my latern from its contemporaries. Further-more, by holding it in a horizontal position i am able to create the movement that I want to achieve and this cannot be done by holding it in a verital postion. This method of holding the latern with two hands also puts a twist on the vertical tropical storm cell pattern.

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SKETCH PROPOSAL 3

The last proposal is based from my tropical storm for-mation, as it can be seen in the figure 2.

The lantern will be held like a first proposal. The design that I came around to, takes the fundamental outline of the tropical storm cell and this basic perimeter was the inspiration for my model.

FIGURE 1 FIGURE 2

FIGURE 3

FIGURE 4

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FINAL DESIGN: Infinity shape lantern

Finally, the lantern design that I want to further de-velop later in the second module will be included in second proposal. Firstly, I was drawn to the shape of the infinity symbol. Moreover, out of the three propos-als, I think this latern is the one that deviates most from the norm compared to the other lantern designs. I like the idea of how my latern will be held. It will be held like an accordion. It is a very unique design yet sophis-ticated in its approach.

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LIGHTING EFFECT & SKETCHES

In terms of lighting effect that I want to achieve for my lantern, the direct and dif-fused lighting technique would be the best approaches.

The direct lighting technique will produce a beautiful pattern, as can be seen in figure 1. In addition, the latern will also produce a different atmosphere by applying a diffused lighting technique. FIGURE 1

FIGURE 2

FIGURE 3

FIGURE 4

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LIGHTING EFFECT EXAMPLES

Origami hunter lighting and La Feliz Lamps by Patricio Lix Klett & Celeste Bernardini

The pictures illustrate a lighting effect that i want applied to my lantern. In the Figure 1, the lighting is pretty sim-ple, the LED is placed in the center of each light producing a contained lighting effect with the light source directed only within the area of the lamp structure.

On the other hand, in figure 2, it is a bit different from figure 1. The lamps itself uses a diffused lighting tech-nique so as it produces a stray-out effect.

FIGURE 1

FIGURE 2

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REFLECTIONThe first week of the lecture was introduced by Paul Loh. He touched briefly on the course contents for the upcoming weeks. Afterwards, he mentioned representation as the vital aspect of the virtual information that will be actualised through the medium (representation). Furthermore, we were shown different types of nature patterns and the hidden connection between pattern and art, in particular abstract art.

Regarding the reading, Kandisky’s teaching of drawing was called analytical drawing. As mentioned in the reading, it was an examination deeply of the structural “relationships among objects”. It consists of three stages which will progressively occur through the processes, which are: simplification, analysis and transformation. Moreover, Kandisky used ‘everyday’ objects, such as: simple furniture, building materials, etc. Com-monly the objects were closely put in the group, so that it could form a geometry shape. In addition, he mentioned that the arrangement of the objects were important as well. The good arrangement sets a clear possible relationship amongst the objects and avoids confusing set of rela-tionships.

As highlighted in Kandisky’s approach of analytical drawing, the first stage is simplification, turning the complex from into the simple form. Sec-ondly, analysis, by “making clear the tension discovered in the structure” and emphasizing the tension by means applying a colour. Thirdly, trans-lation, is the process of converting a physical visible pattern into an abstract language.

In the Aranda and Lasch, Tooling (2006) reading, it was introduced the term ‘algorithm’, which means “a series of steps”. It was divided into sev-en algorithmic techniques: spiraling, packing, weaving, blending, cracking, flocking and tiling.

In the second reading, Ball mentioned pattern formations were formed through interaction between various kinds of different elements and it has its own rules controlling the information.

My natural pattern is based on the storm formation. Generally, the formation of the spiral shape from the storm is created when a center of low pressure develops with a system of high pressure surrounding it. This combination of opposing forces can create winds and result in the formation of storm clouds.

Moreover, the formation of the patterns originated from the repetition of the movement of the spiral shape through the simplification technique which was taught in the week 1. Furthermore, the transformation of the pattern can be seen in the paper making models, involving different techniques, such as : rotating, scaling, arraying, etc. Thus, from that process, the three-dimentional form can be achieved.

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REFERENCESImages and sources:

http://cache.boston.com/universal/site_graphics/blogs/bigpicture/lantern_02_11/l14_17883345.jpg

http://data.whicdn.com/images/35952255/diy-geometric-lantern6_large.jpg

http://www.deseretnews.com/images/article/midres/760884/760884.jpg

http://en.sistudio.cl/collections/design/types/productos-2

http://openbuildings.com/buildings/cocoon-office-profile-2174

http://www.evolo.us/architecture/the-infinity-building-mcr-architecture/

Readings:

Ball, Philip (2012): Pattern Formation in Nature, AD: Architectural Design, Wiley, 82 (2), March, pp. 22-27

Poling, Clark (1987): Analytical Drawing In Kandisky’s Teaching at the Bauhaus Rizzoli, New York, pp. 107-122

Tooling / Aranda, Lasch. New York : Princeton Architectural Press, 2006

module one journal

Documents

square pa

certain pattern

particular pattern

square piece of pa

virtual environmentmodule

solid line

continuous spiral line

tropical storm cell