module 1 ideation

Weilin Yan (Jason)Student No: 596561 Semester 1/2013

Group 9 (Angela)

virtual environments

Eye of Dahlia (Eric Vogt)

This pattern is called “Eye of Dahlia” taken by Eric Vogt. It first attracted my eyes by the flamboyant color and I thought it was a rose before. The image shows the process of blossom and the petals from the centre gradually stretch and become bigger to outside. The track of the petals spreading out seems like a spiral. Hence, for the movement drawing I chose spiraling curve as the track.


My Pattern


Analytical Drawing

According to Kandinsky, analytical approach can be divided into three stages.

For the first stage, we can focus on simple geometry and then study the forms of the drawing. Then I relate this to my pattern. For my analytical drawing of symmetry, I came up with an equilateral from the picture and through my recipe to develop a final drawing with the shape of a blossomy flower, which shares similarity with my pattern image.

The second stage was called “development of the structural network” (Prague, cited in Kandinsky 1987). I think this stage is more like a discovery of the structure and we should pay attention to the structural network as a whole. Therefore, “[t]his phase is the heart of the analytical approach (Kandinsky 1987).

The last stage is more radical and more abstract (Kandunsky 1987). From my point of view. this stage is an extending of the second stage. Furthermore, this stage also manages to translate the image into abstract meanings. I went through all the three stages and kept refining the forms and structures of my pattern. Then I came up with the main idea of blooming or blossom as the agenda for all my drawings.

Friedly Kessigner 1929

Symettry


Just as Kandinsky mentioned of the first stage about exemplify elements of a pattern and then think about the overall shape. For this symmetry drawing I just go through this process. I used a base ele-ment equilateral triangle which I extracted from the petals shape. After I used Rhino to trace the pattern, I came up with this symettry drawing.

First of all, I rotate the triangle five times and get a regular hexagon shape. Then I mirror each triangle by the lines of the hexagon and also scale 1.5times. Later for the bigger triangles, I chose two by two. For each pair I get another triangle by linking the two top points and chose the middle point of the segment as the midpoint for the triangle’s line (with the diagram below).

Balance


From Kandinsky’s (1987, 114) sec-ond stage, it maintains a discovery of the structure and then find the whole network among the pattern. So I developed my balance draw-ing by trying to share clarity through the whole structure of a blossomy Dahlia.

For this analytical drawing, I mark the points of the petals along the square. I got six points in total. Then I made three lines two by two. They all intersecte on one point O.

For each segment from O to the point I maked before, I used equidifferent principle with toler-ance one cm to get two other points. Then I linked the first series of points all together and then to do so for the second series of points.


Movement

For the movement analytical draw-ing, I used the metaphor of grow-ing. This is related to the third stage given by Kandinsky (1987, 115), which extracts an abstract mean-ing from the pattern.

Firstly, I draw 3 circles with the same centre in the square .Then start from the centre point, I draw the track with a quarter of each circles and curves tangent to each circles.Later I just chose base elemet of a circle and the centre of it move along the track 1cm one-by-one..


Emerging Form

During the tutorial’s workshop, we are asked to make our drawings or patter into 3-dimention. Then I just use my movement analytical drawing and transform the circle into cylinder with a spiral arrange. But For the height and the radius I used equidifferent principal again to make differ-ent scales of cylinders.


Emerging Form

Then I keep forming my paper model. At first, I extruded the circle surface and scale it gradually to the top surface, whichi is a circular truncated cone. Then I piled up these two objects inversely to get the final object.

Later I tried another form by just folding a rectangle. Because I found this shape much interesting with two different petal shapes. I think this may be good for the later light effect.

Then I used Rhino to make the latter form and made the paper model of this form.


Arrange The Form

In the reading Tooling, Aranda talked about “seven algorithmic techniques”. For arranging my basic element, I chose spiraling, tiling and packing techniques as shown below.


Rhino Form


Light Effect

In the lecture, Paul showed the TED talk by Liz Diller. She talked about “master sense” by an example of an construction and she put forward the agenda of “drink the building”. Similarly, the light effect is also an outcome of the “master sense”. Just as Paul said in lecture “light creates ambi-ance and feel of a place”. When I put light at the centre of the spiral shape, I was attracted by the effect with linear elipses also shown as a spiral shape.

Precedent Study 1

Paul create a doubke spiralis by ap-plying a light projection from the top of a Riemann sphere(loxodrome) onto a plane. This projection is called a stereographic projection.

This reminds me of the idea I used before about the spiraling. Actually in this design, the shadows it creates is also a sympol of spiraling. So I think for my model form I can use this idea and make the light create a spiral effect or shadow on the ground. By achieving this, I probably need to examine the basic form of model and ask myself is it necessary for the model to be a spiral or not.

Double Spiral ------By Paul Nylander



Branching

Spots

Cited from Paul’s Lecture

Stripe

Philip talked about self-organised in patterns. It’s like a computation performed by the in-tersection of physical particles. He listed for methods; they are oscillation, inhibitor, brach-ing and agrregation.

Philp’s article makes me think further for my papttern and gives me more thoughts about the emerging form models, like how to change the analytical drawing from 2D to 3D. In addition, I try to make my recipe simple and also make the abstract “blossom” phenom-ena into physical form- spiraling (See “Movement” drawing and the first model).

Pattern Formation


Refining Form

After the Philip’s reading, I keep refining my basic form. I asked myself why not put some smaller pattern on the curved surface of my former basic form. Therefore, I cut three small water drop shape along my form surfaces. And the picture above is the effect with the light.


Precedent Study 2

This amazing building is called the museum of glass designed ac-claimed Canadian architect Arthur Erickson. The reason I chose it is that the shape of this building is very similar to my bascic ele-ment. Before, I totally have no idea what the overall shape of my lanttern would look like. When I saw this museum, I just thought why not just the similar shape of my basic element. But the bulid-ing was “sheathed in concrete and translucent glass, and the building abuts a tilted 90-foot cone wrapped in stainless steel”. The texture (rhombus) on the surface of the museum spirals to the top and the surface is gently flat, which is not the effect we want. So I may change the rhombus into stereo cones like what I showed on the right.

Museum of Glass in Washinton Arthur Erickson


Interface Place

For my lantern, according to my recipe it is like a cone shape. So I came up with the interface with fingers as the steepletop then coverd my forearm.

From all my work before, I finally settle ed my recipe. What I want my lantern to look like. Using the basic element of a shape of an informal cone (for example my papr model), I will link it each by each along spiral tracks to a top surface. There will be plenty of tracks start from different points on the same surface and will end at different points but still on the same top surface. Besides, the cone along the tracks can point to different directions randomly. As a sequence of these tracks, the overall shape should be just like the shape of my basic element (as I put for-ward from the second precedent study). Diagram shown below.


Clay Model

I used the clay model to form my expected form. In this clay model, I made two spiral objects with my basic elements linked together. And then I just piled them up. There are interspaces between the two objects. From the images above(top view and front view), the shadows are interesting with swateeth.

Bibliography

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

Paul, Loh (2013). Lecture. Virtual Environments. The University of Melbourne.

Paul Nylander. 2008. http://nylander.wordpress.com/2008/10/01/double-spiral/

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

http://museumofglass.org/document.doc?id=81

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