Stefanie JuddStudent Number: 638809

Virtual Environments Semester 1 2013Group 5

Module 1: Ideation

My Natural Pattern

http://www.flickriver.com/photos/21654792@N03/4329196400/

Analytical Drawings - Movement

I First started by tracing out the pattern that joined each of the tips of the petals in a rough circular shape.

I then used ‘Tooling / Aran-da,Lasch. New York : Princeton Architectural Press, 2006).’ recipe for cracking as a guide to create my pattern. I drew lines from the centre of the outline and connect-ed them to the points on the shape

I then repeated the second step - finding the middle of the shape then drawing lines to connect to the points of that shape. This represents Move-ment as the shape of the overall image can be forever changing if we continue this process.

My Recipie

1. Draw a series of dots that roughly resemble a circle2. Connect those dots3. Mark the center point of the shape4. Draw straight lines out to all the points on the shape5. Repeat steps 3 and 4 untill content with the pattern

Symmetry

I used half of the pattern generated in the movement section to create this new pattern using symmetry. To create this pattern I drew out half the pattern and proceeded to reflect the image over an imaginary horizontal axis, form-ing a symmetrical shape when folded horizontally in half.

Balance (and symmetry)

Recipe for drawing:

1. Locate the centre of the image2. Create a line from the centre outwards based on the shape of the im-age (in this case the petals)3. Use the shape generated in part 2 and rotate it around a fixed point leaving a distance between a point of choice of 1cm. (as shown in the diagram)4. repeat step 3 until back at the first line.

Week 2

Model 1For my first model I chose to use the triangles from my original pattern, as shown below:

I initially started by using this base triangle and connected it to another of the same dimensions so that the emerging shape appeared symmetrical.

After creating two of these shapes I continued to experiment with the dimensions of the same base triangle. I first extruded the walls of the trian-gles and made them significantly higher - as can be seen from the blue arrow. I then continued to enlarge my original triangle keeping the height the same as well as keeping the basic shape. Finally I applied both trans-formations to my original triangle and ended up with a triangle that was both greater in height and a greater scale than the initial form.

I then tried various methods of putting these shapes (the two triangles stuck together) together. Initially I could not make the shapes tessellate, however after moving them around I found that a star shape begun to emerge - as seen in the image to the left. I continued to piece together my model until I had used all the triangles and was left with the final model photographed to the left.

6.7cm3.7cm 4.6cm

15cm

Model 2For my second model I continued using the theme of triangles, which I ob-tained from my analytical drawing shown on the previous page.

The dimensions of my triangles are as shown in the photograph to the left, and are the same as used for the original triangle in the first model. I taped the two ends of the paper together to form the triangle shown below.

Height = 1.5cm

I was able to create the three dimensional object shown in the photograph to the left by connecting only one side of the two triangles, rather than both side which I have done in my first model. By only connecting one of the sides the triangles flared out creating a shape with more volume and a greater 3D aspect.

After creating this basic shape with the two triangles I was able to connect them along their edges to form the three dimensional shape shown to the left.

Once I had joined ten triangles together I connected the first and last triangle together to form an enclosed shape. This shape I later found, formed a star at the top of the overall shape and this can be seen below.

I was able to fit in another layer of triangles by tessel-lating them in the opposite way that I did before (the triangles were flipped upside down and slotted into the gaps.)

I also decided to experiment with light and see what effects this model created when light was shone through and I got very interesting results (as seen to the right). The star shape from the centre of the model was projected onto the wall and surrounding it were various triangular shapes.

Shadow Casted by my Model

Rhino Screen Captures

Perspective View

Perspective View Top View

Week 3

Plasticine Model 1

For my first model, I used the idea of repetition of shape. Much like my paper model I started with a base shape, in this case rather than choosing a geometric and conventional shape, I decided on my base being a more three-dimensional one. I chose the shape of a hemi-sphere (bumps) becase my paper model is of a similar shape. My idea for the ‘bumps’ in the model was for each of the ‘bumps’ to infact be replicas of the paper model, each connecting to one another, so that when light is shon through it projects many similar patterns around the whole room. The way I thought this lantern could be held was by a slight bend in the elongated part of the figure, and this bent shape would wrap around the wrist and hang downwards - as shown in the third image (the pencil represents the wrist)

Plasticine Model 2

This is the second model I created out of plasticine. My aim was to mould the plasticine in such a way that it slightly resembled a flower. I thought that rather than use the paper models shape which forms a star, I would extract the idea of triangles from that model and re-assemble those shapes in the overall shape of this new plasticine model. Because this lantern hangs downwards from a hook-like end I thought the light would be projected out through the bottom with little effect, however because of the triangular skin which creates holes for the light to shine through, the light shining upwards would cast a pattern as well as creating a pattern around the lantern thus leaving the shadow simple in the downwards direction.

Drawing of how the lantern may be held.

The way which I designed this particular lantern to be held is similar to my first model. This idea is similar to my previous idea in two ways: the first being that the way it is held is via the wrist - the curving of the top thin part of the model around the wrist to hang (as shown in the dia-gram to the right), and the fact that the whole lantern hangs down. What is different however, is the overall shape.

As the first lantern was enclosed, this design has a large opening or mouth which enables a large amount of light to shine through with a limited pattern projected on the ground (theoretically), and a detailed pattern to be seen above - depending on the angle the light is situated at.

Plasticine Model 3

My third model also takes on the idea of a flower once again. This particu-lar lantern design is handheld, it sits in the palm of the hand. My main idea was that there would be overlapping patterns, so that when light shines through we not only get one pattern but also another, creating an en-tirely separate and new pattern in itself. The ‘mound’ in the middle of the flower shape is designed to be very similar to my paper model - it is similar in shape and I liked the lighting effects caused by the paper model, this would create the first pattern. The petal shapes would provide the second pattern, a second barrier that light would have to travel through in order to leave the lantern. This lantern is not designed to shine downwards as it is handheld, however this will not affect the overall effect.

In one of the lectures Paul talks about interference systems, which is the overlaying of one pat-tern over another to form a new pattern, this is layered light. I find this idea interesting in that you can have two very simple patterns and combine them to form a pattern you otherwise would not have seen.

The image to my left depicts this idea of layered light. You can see light entering the slits in the wall in two different angles (red and green lines), when these lines intersect we can see distinct changes in pattern, mostly in the colour of the light/shadow. Lighter squares form where the two lines of light intersect creating an almost chequered pattern.

I am considering using this method of layering light in my third model. I have explained using the diagram below:

http://3.bp.blogspot.com/_9G--dAxqDuk/SXzb7Hz4XSI/AAAAAAAAApk/5P6swo0vQHs/s400/maufoto.jpg

This is the centre of the lantern and has the same triangular pattern as my emerging form - it is the first layer of light

This is the outer part of the lantern, it has a similar triangular design, allowing light to shine through a second time and hope-fully creating a new pattern on the walls around it.

Week 1

Lecture 1 and Reading Response

This weeks lecture introduced the concept of information being made real through representation. We were also shown different examples of how patterns formed in nature, such as trees and their branching systems. All information can be reduced to a very simple system of rules, the simpler the rule, the greater the complexity of the system. Many artworks and even buildings use this idea of a rule system to create a detailed pattern which can often be inspired by those found in the natural world.

The lecture helped me gain a greater understanding of analytical draw-ings, in particular, how they are created and the ideas and thought pro-cesses required to understand them further.

The three stages of analytical approach advanced by Kandinsky as dis-cussed in Poling, Clark (1987): Analytical Drawing In Kandinsky’s Teaching at the Bauhaus, Rizzoli, New York, pp. 107-122 are:1. Simplifying the whole image into one overall form, representing the whole formation in the briefest way possible, whilst still being able to iden-tify the pattern with the original image. I did this by reducing my photo-graph of a flower to a simple ‘zigzag’ line, which ran along the edges of the petals. 2. ‘Development of the Structural network’ - making tension clear in the artwork through the use of broader lines and varying colours.3. Presenting the pattern in the most concise and analytical way pos-sible, I was able to do this by using only one line (in one of my drawings) and repeating it over and over again whilst rotating it around to form a circular yet angular shaped pattern.

Reading QuestionPattern Formation in Nature [Ball (2012)]

In Phillip Ball’s ‘Pattern Formation in Nature’ he talks about how very common features of natu-ral patterns result from mathematical analogies.

As a person who is interested in maths and the logic it ensues, I found I had to deal with a very logical and structured pattern. I initially used the method of cracking to form my analytical drawing, and extracted the basic triangle from that pattern. Using triangles I rotated and shifted them around to form a very geometric set of shapes, in both a symmetrical and controlled way.

Ball also writes about how spontaneous pattern-ing is complex and made up of many compo-nents, components which are formed by a rela-tively simple set of rules. In the formation of my model I applied this idea of using simple rules to create a more complex pattern. I simply rotated my basic shape (the two triangles) around an axis and connected them all together to form my final product.

RMIT Swanston Academic Building

Whilst in the city on my way into University I saw this well known building and it caught my attention. As my chosen shape was triangles I found this building particularly inter-esting as it uses triangles and angular shapes to attract attention. This building was de-signed by Lyons, and is a very modern building which is highly contrasting to the older and more dated buildings surrounding it. As my analytical drawing for both balance and symmetry both revolved around triangles, I thought this building would help inspire me when creating my model.

The repetition and symmetry of the triangles, as well as the 3D element (the triangles jut out from the building at various points) caused me to think about how I could make my model more sharp on the edges contrary to my initial model which was completely flat. This RMIT building also contains curvature on the edges which contrasts the angular shapes such as triangles with the curved edges of the building. I used this idea of mesh-ing the two shapes together in my second model. I managed to curve the outside of my model to create an almost oval shape - that is if you were to drape cloth over the outside it would form a more circular overall shape.

http://c1038.r38.cf3.rackcdn.com/group5/build-ing44719/media/jvfk_2.jpg

Natural Pattern 2: Snake Skin. - Extra little pattern

http://www.colourbox.com/preview/2146987-298135-back-ground-texture-of-a-skin-of-a-snake-close-up.jpg

http://www.soultravelmultimedia.com/wp-content/uploads/2011/01/Reptile-Textures-14-1024x768.jpg

I used Aranda Lasch’s recipe for cracking fo form this pattern. I first decided that I would have my repetetive pattern in the shape of a snakes scale and continued from there to form this pattern.

Rhino Tutorial Screengrabs:

Viewports Pipes

Rotation

Bibliography -http://www.soultravelmultimedia.com/wp-content/up-loads/2011/01/Reptile-Textures-14-1024x768.jpg- http://www.colourbox.com/preview/2146987-298135-background-texture-of-a-skin-of-a-snake-close-up.jpg- http://c1038.r38.cf3.rackcdn.com/group5/building44719/media/jvfk_2.jpg-http://www.flickriver.com/photos/21654792@N03/4329196400/- http://3.bp.blogspot.com/_9G--dAxqDuk/SXzb7Hz4XSI/AAAAAAAAApk/5P6swo0vQHs/s400/maufoto.jpg-http://saveourspecies.files.wordpress.com/2008/10/amonite-001.jpg-http://www.youthedesigner.com/wp-content/uploads/2011/07/277.jpg-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