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DESCRIPTIONVirtual Environments Journal
Karen Dionisio-See613168Virtual EnvironmentsSemester 1 2013, Group 5
Starfish (Sea Star)
These marine organisms have about 2000 spe-cies, which vary in colours, shapes and sizes. One thing that puts the starfish apart from other ani-mals is the interesting and unique patterns that their spines make on their body and limbs.
Inverting the image and adjust-ing the exposure of the image through the use of Photoshop helped in showing balance.
The balance is represented through the light and dark areas of the pattern. The outlined lines represent the lighter areas of the
RECIPE FOR BALANCE
1. Make a big X in the center.2. Create another X that intersects
the first X.3. Connect the two lines that are
nearest to each other using an L shape.
Any of the dotted lines can be the focal point of axis of symmetry of this pattern.
RECIPE FOR SYMMETRY
1. Find the center point.2. Create 5 points, equidistant
from each other, connect the dots with a straight line
3. Repeat step 2 but make the dots farther from each other.
4. Do steps 2 and 3 alternatively.
The big triangles in the center branch out smaller triangles that remain adjacent to each other making a flower-like formation.
RECIPE FOR MOVEMENT
1. Find the center point.2. Make 5 triangles using the center point
as the top vertex.3. Draw more triangles adjacent to the
previous ones.4. Repeat step 3 until you reach the de-
To begin with, I have used my analytical drawing of movement to make the paper models.
For the 3D extrusion of the pattern:
1. Using a strip of paper, fold it into three parts.2. Glue the ends of the paper together forming the shape of a triangle.3. Stick the triangles together.4. Make smaller triangles and flue them to the first batch.5. Keep repeating the steps until you reach the desired form.
For the emerging form free from base:
It is similar to the process of the 3D extrusion pattern except the geometric meausrement of the triangles are tapered. The triangles are also layered as a new batch is being con-nected to the previous ones.
As more and more triangles are being attached, the paper model makes curves inwards due to the tapered triangles. Starting with the second batch of triangles,
First batch of triangles Second batch of triangles Third batch of triangles
Digitalizing the free form model
CONSTRUCTIVE GEOMETRY PAVILION
This structure is designed by students of University of Porto to analyze and study dome architectures. This exemplifies my free form design because of the repe-tition of the basic shape. It also shows the way the geometric measurement of the basic shapes extrude and are tapered as it moves towards the center of the structure.
PROTECTION FROM SEA LEVEL RISE
After Hurricane Sandy, architecture students of the University of Pennsylvania proposed a solution to the problem of sea level rise or flooding in Manhattan. This structure demonstrates the layering effect in my free form design. More-over, it shows the way it wraps around the building which inspires me in how i will hold my lantern.
1st Design 2nd Design
Front View Right View Top View
I chose this to be the form of my model because it can maximise the overall effect of the light. It is also easy to be held since the lantern will be wrapped around my arm.
PRECEDING LIGHTING EFFECT
Kaohsiung Port Terminal
The curve shell like roof of the airport creates light effects on the room. The small openings or cuts on the ceiling helps light expand wider to the whole room. The cuttings also results to a polka dotted light effect on the floor of the area. I personally like this effect because of the simplicity and accuracy of the dotted lights the cuts make.
In addition to this, the opening of the triangles in my free form would also create a light-ing effect like the image on the left. The three cubes that also have cuttings on the sides make vertical, horizontal and diagonal lines that bend once it bounces to another wall.
SKETCH OF LIGHTING EFFECT
In reading this article, I was able to understand the illustration of certain patterns such as spiraling, packing, weaving, blend-ing, cracking and tiling using recipes. The examples given in the reading helped me in creating my own recipes for the analytical drawings.
POLING/ ANALYTICAL DRAWING
In this weeks reading, Poling, Clark (1987): Analytical Drawing In Kandiskys Teaching at the Bauhaus Rizzoli, New York, explains the three stages of analytical approach which are the process of simplication, analysis and transformation. Firstly, simplication is a way of revealing the obvious, individual or basic shapes in a pattern or image. Secondly, analysis depicts the tensions and structural netowkers by a focal point. Moreover, these ten-sion can be differentiated through color schemes and trans-parency of the ink used. Lastly, transformation demonstrates different possibilities in construction the pattern that makes the image abstract. With these information, I was able to find shapes in my natural pattern that turned out to be the basis of my analytical drawings. Also, I used focal points to find the balance and symmetry in my patterns. The third stage guided me in creating patterns that were not obvious at first glance. Therefore, this reading greatly influenced my understanding of making the analytical drawings of my natural pattern.
The first weeks lecture emphasized the meaning of representa-tion and patterns that has been applicable to peoples every-day life as well as science and art. Paul Loh explained that every representation has a pattern, which had three ideas: symmetry, balance and movement. This understanding of patterns enables us to do the tasks for the week.
Before starting to use the Rhino 3D, I have watched some of the tutorials to learn more about the commands and option buttons in the software.
BALL/ PATTERN FORMATION IN NATURE
Ball describes in Pattern Formation in Nature: Physical con-straints and self-organising characteristics, the ideas behind natural occurring patterns, He explains that the process of these formations are formed through simple rules and interactions between many components. This then produces the system of self-organisation and emergent behaviours. In this reading, he gave examples of natural structures such as Fingals Cave and Giants Causeway, which show geometric hexagonal forma-tions. Ball also mentioned the chemical and granular patterns behind animal prints and sand ripples and dunes. Furthermore, he discussed the moments of transformation in some of these patterns.
In the natural pattern I have chosen, the process that I have found is branching. It is evident that from the big traingles in the center, smaller triangles are formed moving outwards yet still connected to the previous triangles. My pattern also exem-plifies the pattern as computation that was argued by Ball in the reading. It shows how the natural pattern is governed by a simple rule and also dependent on its neighbouring cells.
Fingals Cave Giants Causeway
This weeks lecture, Paul Loh talked more about patterns and their formations. He explained the moments of transformation which was used in my emerging pattern. The lecture also con-tained the geomtric transformations: move/ copy, rotate, scale and mirror. These were used in the emerging form of my pattern and also relevant as I digitalized it in Rhino 3D.
This lecture was quite interesting because of the discussion of dif-ferent lighting effects that can be created through many ways. Light could also be manipulated through geometry and materi-als used which I used in picking the precedent light effect of my lantern.