Virtual Environments - Module I

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module 1 - ideation

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<ul><li><p>Precedents in natureModule 1 - Ideation</p><p>Semester 1</p><p>Nina Novikova </p><p>Student ID: 643695</p></li><li><p>Precedents in naturepatterns in nature</p><p>Patterns are formations which hold some sort of rhythm, Patterns are formations which hold some sort of rhythm, repetition or algorithm to them, usually sharing fragments repetition or algorithm to them, usually sharing fragments which are identical. In nature, each pattern is an outcome of which are identical. In nature, each pattern is an outcome of a certain process, sometimes evoultionary, sometimes a certain process, sometimes evoultionary, sometimes concerning self-organisation. concerning self-organisation. </p><p>Cracking is the process of matter splitting into parts sometimes triggered by a certain motion, or going off from a central point. </p><p>Packing self-arrangement, with larger parts dominating the space, and the smaller filling in efficiently whatever is left behind.</p><p>Spiralling a shape growing out following the curve of itself. Quite often forms a golden spiral which follows the mathematic Fibonacci sequence.</p></li><li><p>Precedents in naturePatterns in nature</p><p>Branching is caused by gradual vertical growth accompanied by slight spreading into horizontal growth until a certain point where the growing object splits off into two, and each end repeats the process.</p><p>Another example of spiralling in vegetation</p><p>Visual tiling concerns the transfer of pressure and weight, creating a structure which is sufficient and does not use up a lot of material, but following a growth pattern which prevents fractues. I ended up choosing skeletal formations specifically in this case, coral and </p></li><li><p>Precedents in naturePrecedents in nature</p><p>The fenestrae in the skull of a hare fragile bone structure</p><p>ProtoHouse by Softkill Design a project which focuses on using algorhythms of bone growth and development in 3D modelling and printing </p><p>The timber frame of a house similar functions with weight distribution</p><p>Airbus project roof of aircraft that imitates bird skeleton. </p></li><li><p>Here I've analysed how the tiles connect</p><p>Analytical drawings</p><p>Analytical drawings are not for aesthetic purposes they are an analysis of the core elements of subject matter, the relationship between them. When taught by Kadinsky at the Bauhaus, analytical drawings included the analysis of basic parts of a structure, what laws and systems did they function under, and how they were tied together as a whole. Visual elements that can be utilised to create an analytical drawing are the contours and outlines of shaped, lines to represent motion or direction as well as outline certain shapes in this case the lineweight could indicate the strength and importance of information it portrays. </p><p>Here, I have located the central point of each tile, and the outline of the shapes</p><p>Final pattern tile</p></li><li><p>Analytical drawings - recipe</p><p>'Tooling', Aranda and Lasch, suggests that the recipe for patterns which follow a tiling process consists of finding the intersection points between bisectors of other randomly scattered points. Personally, I used a slightly simpler method to create an analytical drawing which still retained the basic information about a pattern.</p><p>Plot a series of random points</p><p>Use each point as the centre from which one should bring out lines heading in different directions. The number of lines should be 5 or 6; they should not intersect or connect </p><p>Connect the outer points of each line. Again, the shaped should not touch. </p></li><li><p>Extruding shape from pattern tile</p><p>The core information of the pattern tile (refer to analytical drawings) has been mapped out in Rhinoceros. Using the 'extrude' fuction, it was then transformed into the basic three-dimensional model. </p><p>Using the result as the guideline, this information was then made into a 3-dimensional paper model, simply by folding a strip of paper in the shape desired. The paper was the glued together to form a ring, and the ring bent a little to create an angular shape rather than a perfect circle. The multiple tiles were then joined together. </p></li><li><p>Extruding shape Paper model 1</p><p>Here, it is the negative space that seems to play the main role as the space through the light passes with only one layer of this shape, all that the physical paper does is visually separate the tiles and perhaps cast a little bit of a shadow.</p></li><li><p>Extruding shape Paper model 1 </p><p>This shape also looks quite basic I've even added on a few dividers to run across the tiles to the center point, but it just doesn't seem to project or shadow light in any special or interesting manner</p></li><li><p>Emerging shape from base using Rhino</p><p>The base shape of this pattern would have to be one single hexagon-like shape for future reference this element will be referred to as a cell. To expand this one element into a pattern, various moving functions have been is use, such as rotation, scaling and mirroring. In the end, a shape quite similar (only perhaps a bit less unique) was created. </p><p>Reflecting back on the first paper model and the analytical drawings, I decided to emphasise the negative space by solidifying the space inbetween. In natural formations of coral this is the actual skeletal matter, in larger bones it is the solid between the pores, and in this case it is what happens when the lines are connected to close off the space between the cells themselves as a whole. </p></li><li><p>process for model 2 </p><p>On a piece of paper, trace out the shape around the cells based on the analytical drawings </p><p>Place another sheet of paper beneath the drawing. Cut through both layers with a scalpel. Cut out the negative space to create two gridlike shapes</p><p>With the use of additional protruded curves, fix one shape slightly above the other. Rotate the shapes to ensure they are in different positions.</p><p>Paper model 2 employing the negative spaceThinking back to the precedent images of actual bone, one can see that in almost no structures of such kind is there only one layer there is usually a few, and they connect with each other to transfer the weights load and prevent fracture of weakened points. This is what the incentive of making this model was creating multiple layers to not only obtain the likeliness to natural pattern, but to allow more different opportunities to integrate this space with light there are now shadows being cast onto the actual subject matter as well as around, the multiple layers allow transparency this could be experimented with in the later stages of the design process by varying the thickness of paper. </p></li><li><p>Paper model 2</p><p>Unfortunately I was not able to do this with the clay models the material barely held shape and does not transfer or support the weight of the structure. But this paper model still demonstrates the way this shape would look from the outside when exposed to light. If the light was more focused, I imagine a model of a similar structure would cast shadows of varying depth and intensity, and thus transfer the pattern onto surrounding surfaces, gradually fading away as it gets father from the source of light. </p><p>Overall, this model forms pretty much an ornamental wall, which could hypothetically be used to develop different other shapes while still having the aforementioned qualities. </p></li><li><p>emerging form clay models</p><p>coil </p><p>The very first sculpture createdby a collegue during the tutorial,this model communicates the basic shape of a free-form cell, out of which my pattern consists. It could also become the potential shape for the future lantern to take, an openworks cylinder. </p><p>process </p><p>The model to depict the process Iam referring to the creation and repetition of hexagonal or pentagonal shapes, which could be scaled, rotated or mirrored. Eventually, they can be brought in to form a larger shape of this kind, as my partner has done with this particular sculpture. </p><p>side front top</p><p>side&amp;front perspective top</p></li><li><p>emerging form clay models</p><p>'grid' </p><p>Recreating the same shape that served the basis for my second paper model out of plasticine. This was difficult to do seeing as the material would not hold shape or support itself. Evidently, this element is better off being portrayed in paper form.</p><p>1:1 scale </p><p>The grid is then taken and transformed to a three-dimnesional shape as if it was the actual size of the future lantern. This can be achieved through replicating the offset of each individual 'cell' from an intersection point, or simply extruding lines off the centre point in all directions. </p><p>side (scewed) top</p><p>side top front</p></li><li><p>emerging form 3-dimentional form This is a model based on a 1:5 scale representation of my emerging shape. Each wall of this structure represents a formation of surfaces between the cell-like openings, as seen in the second paper model and grid sculpture experiment (although this was created before the latter). Similar to how the cells form the walls, the walls form a bigger shape not quite touching, not quite perfectly fitted together, but strong enough to support the weight of the structure. Having a light source in a space like this would have a lovely shadows onto the actual lantern similar to the slight transparency and gentle shadows achieved when the second paper model was exposed to light, but it is also expected to cast interesting shadows around the lantern, transferring the core natural pattern even outside the subject matter. Another notable aspect of this design and the concept of packing in general is the idea of smaller parts coming together to create one larger replica of themselves, which then gets connected with others in a similar manner, and so on. We see this in coral, which served as the pattern tile for this design, we see this in the structure of bone which serves to support a larger organism. I think adapting this approach with my subject matter would give my work more meaning. In order to emphasise that, I may develop this concept in a direction that would have more than one sphere-like shape made up of connecting walls used to create a bigger shape, which ultimately would be the body of the lantern. </p></li><li><p>Concept 1 A sphere within a sphere</p><p>This idea is based on even more overlapping of the original emerging form, creating effective patterns within the sculpture itself, as well as casting (hopefully) interesting shadows.</p><p>One composition of walls made up for two layered emerging shapes, just like the second paper sculpture, will hold the main source of light. Using additional curves and separate cells, this composition, roughly resembling a very uneven sphere, will be connected to a similar sphere which is scaled up both in terms of circumference, and the freeform cells used to construct it (the purpose of the latter is to allow more light to pass through areas farther away from the source). While this design idea presumes the lantern would be held in the palm of a hand, some clusters of cells can be making their way up the wrist in order to integrate the arm more. </p></li><li><p>Concept 2 Hanging </p><p>This concept is a further development of the previous idea. Formed by a cluster of the aforementioned spheres the centre of which houses a smaller sphere with the light source, this design imitates the classical lantern shape, and suggests that it is to be hanging from the hand, attached to the fingers by loose links not formed into the clustered walls of a sphere. One of the issues with this design is the need to balance the entire weight of the work off a rather fragile point, which may not be possible if one is limited to using paper only. Another concern is that the interior walls of where the clusters connect cannot be too thick or be made up of too many layers slight overlay and internal shadows would most likely provide a lovely effect, making the work look lace-like and elegant, but a reasonable amount of light still needs to pass through to illuminate the space outside </p></li><li><p>Concept 3 Spiralling up the arm </p><p>This design holds a slight influence from one of the other natural patterns I have looked at spiralling, the process we see in all aspects of nature, from formations of galaxies to crustacean shells, such as the chambered nautilus. Again, the main source of light in this is the central cluster of freeform walls with the hexagonal shapes as the negative space the spiral is how it integrates with the arm. My emerging form has a transparent, light quality, an aesthetic somewhat similar to lace; the idea is to emphasise that through using smaller-scale openings and imitate lace spiralling and draping up or down the arm. As Ive tried to communicate across in the sketch, certain bends of the spiral can be connected with loose links between openings this will make the spiral look less out of place and more integrated with the central shape itself. </p></li><li><p>References</p><p>-Airbus, the Future publication of June 2011</p><p>-Protohouse Nicholette Chan, Gilles Retsin, Aaron Silver and Sophia Tang </p><p> 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19</p></li></ul>