# virtual environments

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Studio Journal

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• Virtual EnvironmentsStudio Journal

Name: Minh (Fiona) TieuStudent number: 643679

• Virtual EnvironmentsStudio Journal : Week I

Name: Minh (Fiona) TieuStudent number: 643679

ResearchFigure1: Dahlia

• Virtual EnvironmentsStudio Journal : Week I

Name: Minh (Fiona) TieuStudent number: 643679

MOVEMENT

1. Cut out a series of isoceles triangles in different scales.2. Starting with the smallest triangle, outline the triangle moving in a circular motion overlapping one another.3. Continue to repeat step 2 with a larger triangle.4. Repeat step 2 and 3 until pattern is completed.

Figure 3: An analytical drawing of Movement

• Virtual EnvironmentsStudio Journal : Week I

Name: Minh (Fiona) TieuStudent number: 643679

SYMMETRY

1. Draw a circle2. Find the centre point3. Draw curved lines connecting the centre point to the arc.4. Repeat step 3 until the circle in filled evenly with curved lines.

Figure 4: Analytical drawing of Symmetry

• Virtual EnvironmentsStudio Journal : Week I

Name: Minh (Fiona) TieuStudent number: 643679

BALANCE

1. connect two curved lines to create a pointy triangle.2. replicate, making sure they faces directly as one another.3. on their right hand side, draw similar shape triangle overlapping one another.4. Erase any lines to portray the the first triangle lays on the top. 5. Repeat step 3 and 4 until there's a total of 4 triangles for each full triangle.

Figure 5: Analytical drawing of Balance

• Virtual EnvironmentsStudio Journal : Week I

Name: Minh (Fiona) TieuStudent number: 643679

Q: Briefly describe three stages of analytical approach advanced by Kandisky and how you have applied the process to your found pattern?

Paul Poh's initiative on the course provided clear components of the course and what's expected of us. We were introduced to our first assignment, designing a lantern. From our reading for this week, Kadinsky's Teaching at Bauhas by Clark V. Polling, gave me a deep somewhat complicated meaning of the term analytical drawing. According to Kadinsky, analytical drawing allow students to think logically as they demonstrates both analytical and synthesis process through the 3 stages of analytical drawing. Before approaching the 3 stages of analytical drawing we are required to complete a research task in finding a pattern of nature that fits within the provided categories. In doing so, encourages us to view our pattern in a thoughtful manner. Follow by the first stage, in which we are required to simplify our pattern into geometric shapes. Stage 2, identify the tension within our pattern the emphasise it using bold lines. Lastly, stage 3, in which we are required to further simplify are drawings. As for my pattern I've chosen the flower dahlia, a twirling pattern that combines with irregular triangles that overlaps one another. After re-scaling and modifying the colour on Adobe Photoshop,I did my analytical drawing based on the 3 steps by tracing then analysing the drawing using logic and hints of creativity.

• Virtual EnvironmentsStudio Journal : Week I

Name: Minh (Fiona) TieuStudent number: 643679

Rhino 5 Tutorials

• Virtual EnvironmentsStudio Journal : Week IIName: Minh (Fiona) TieuStudent number: 643679

Workshop 1: Emerging FormUsing strips of paper creating a 3 dimensional design based on our own selected natural pattern.

In creating this 3 dimensional paper model, series of paper strips was cut in the same width. Strips are the being adjusted in length followed by exact/repetitive foldings and joining the strips in no particular order.

1.Folded like so

2.Using a scissor to make the curve

Much like figure 1, except this 3 Dimensional paper model is extruded to emphasise its structure in an exaggeration manner.

Figure 6: Paper modelling

Figure 7: Exaggeration

• Virtual EnvironmentsStudio Journal : Week IIName: Minh (Fiona) TieuStudent number: 643679

Modelled Digitally using Rhino 5

1. This 3-D model are much like Figure 6. starting off with curve lines then extrude it using the command.

2. Curves line are repeated drawn and extruded. This is the perspective view.

3. Side view of the 3-D Model

4. After finishing 1 patch of pattern, the pattern is being replicated. This is the top view of the 3-D model being replicated 3 times.

5. Perspective view of the rendered model. ( Replicated 4 times, and slight rotations)

6. Artistic format is used to make the model more clear in details, along with shadings.

• Virtual EnvironmentsStudio Journal : Week IIName: Minh (Fiona) TieuStudent number: 643679

Final Perspective view of the 3-D model, in the 'artistic' format

• Virtual EnvironmentsStudio Journal : Week IIName: Minh (Fiona) TieuStudent number: 643679

Q: Describe the formation process behind your found pattern? Are there specific moment of the transformation from your found pattern that you can emulate or stimulate in your emerging form model? Refer to highlighted comments in text.

In this week's reading, Pattern Formation in Nature by Phillip Ball highlights how natural patterns are created. There are chemical patterns, are explained through the apparent markings on animals. Granular patterns, which are patterns formed through the differences in gravity, atmospheric pressure, wind speed and so on. Lastly, Patterns as computation, meaning they are self- organised patterns that are made by interactions of physical particles.

For my natural pattern, it'll be under Pattern as computation as it is formed spontaneous to maximise its productivity as a plant. Phillip Ball also suggests that some patterns are formed randomly. Dahlias was declared as the national flower of Mexico, it consists of triangular petals that circulates in a sparrow shape. This may help it to maximise the amount of sunlight absorbed in different angles.

I'm most interested in the growth of my natural pattern, like many other flowers, dahlias would open up wide slowly showing its details. Much like the moment of bursting I would like to call. For my model I'm considering the movement of growth, meaning patterns of my design would vary in different scaling in creating the feel of growth and expansions.

• Virtual EnvironmentsStudio Journal : Week IIIName: Minh (Fiona) TieuStudent number: 643679

Week 4 Tutorial: Clay Modelling

Front View Back View

Model #1Much like the concept of my natural pattern, this sculpture consists of twirling and is emphasised by scale in the middle.

Model #2This sculpture was rather different due to its form, random spheres were squished together creating a variety of irregular shapes. Smaller scaled sphere was squished in the gaps in creating this structure.

Model #3This was a random sculpture inspired by the folds of my paper model created earlierThe hollow space allows the model to be lighter and much easier in handling.

• Virtual EnvironmentsStudio Journal : Week IIIName: Minh (Fiona) TieuStudent number: 643679

Model#1 Model#2 Model#3

ScalingModel#1: Are held by leaning against the posture of the armModel#2: Hollow space inside, simply insert your hand into the hollow spaceModel#3:Held by carrying, let it hangs down.

• Virtual EnvironmentsStudio Journal : Week IIIName: Minh (Fiona) TieuStudent number: 643679

The Infinite Staircase by Olafur Eliasson in Germany

In regards to week 3 lecture, Camouflage and Effects, I was intrigued by Olafur Eliasson artwork in one of the slide show so I've decided to further research his accomplishments. As I feel that I can relate to some of his many brilliant artworks. The infinite Staircase caught my eyes due to its continuous line of movement, hint of sparrow was used to highlight the concept of movement in this context. By observation, I'm feel that this could've been achieve by twisting a circular shape in various of ways.

• Virtual EnvironmentsStudio Journal : Week IVName: Minh (Fiona) TieuStudent number: 643679

Olafur ElliassionThis is another example of Olafur Elliassion's artwork that I thought was quite fascinating in relation to the lighting effects. Consisting of triangles and semi sparrow feel.

The Magic Carpet- John LeungI thought the concept of the inference of pattern to create movement was quite clever. I'm aiming to in cooperate this concept within my lantern design to create a sense of movement.

• Virtual EnvironmentsStudio Journal : Week IIIName: Minh (Fiona) TieuStudent number: 643679

TracingPattern was traced and drawn as close to one another as possible noticing that the size and pattern of each individuals are not identical

1 2 3 4

ExperimentingPattern was drawn out and cut along the outside lines, follows by folding, the middle area was then cut out as well. By folding the pattern gives the design more texture ad form.

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