M O D U L E 1 - I D E A T I O N

S T U D E N T N U M B E R : 5 8 6 1 0 6

G A B R I E L L E C A R R A S C O

P E A R L F O R M A T I O N

Pearls are a result of injury

and thus part of a Pearl

Oyster’s defence

mechanism.

When the oyster passively

feeds parasites can enter.

Parasites can cause a

great deal of harm to the

oyster so the defence

mechanism is triggered.

This results in a Pearl Sac

forming around the

parasite or wound. The

oyster secretes proteins

which form a matrix of

conchiolin: a porous

surface which then

collects aragonite crystals

(made from calcium

carbonate). This reoccurs

in several layers until the

pearl is formed.

The ‘pearlescence’ is a form of

iridescence. Iridescence can

be seen as the colour of the

pearl changes depending on

the angle in which it is viewed.

Iridescence occurs through

the aragonite crystals which

are aligned perfectly and thus reflect and refract light.

P E A R L F O R M A T I O N

On the left is the process of

a parasite evolving into a

pearl. The main process is

the oyster covering the sand

particle or parasite in nacre.

After multiple layers, the

oyster’s defence

mechanism has produced a

pearlescent ball.

A U R O R A B O R E A L I S

The beginning of the Aurora

springs from the sun, as the

nuclear reaction of

hydrogen atoms are

squeezed into helium

atoms. The light from this

reaction radiates from the

core to the outer layer of

the sun. Through this,

electrical currents are

created; if strong enough

these magnetic fields push

their way through the

surface. The magnetic field

facilitates the behaviour of

an elastic band and has

the capability to break away from the sun.

After eighteen hours this solar

storm interacts with the earth’s

magnetic field. Through the

interaction of the sun and

earth’s magnetic fields, they

create an opening in which

the gas streams into the poles,

creating a pathway for the

Aurora lights.

As seen below: the magnetic

fields around the earth funnel

the gas streams to the poles.

A U R O R A B O R E A L I S

As the atoms present accelerate through the

atmosphere they lose energy through emissions of

photons or with the collision of another atom/molecule.

Depending on when the atoms collide, different colours

are created:

• Green and Read (oxygen)- up to 150 miles in

altitude

• Blue and Purple/Violet (nitrogen)- above 60 miles in

altitude

Top: Clashing of atoms

Right: Interpretations of how

the clashing of colours can

be viewed from a process/

scientific point of view.

D E C A Y A N D D E C O M P O S I T I O N

Plant Decomposition is a constantly re-occuring cycle in

which plants grow from the earth and after a period of time,

begin to decompose and recycle into the soil in which it

sprung from.

Decomposition occurs through the following stages:

1. leaching by water- soluble carbon

compounds are removed.

2. physical fragmenting

3. Eaten by parasites, fungi etc.

4. broken down into soil through various

elements and microbes.

S K E T C H P R O P O S A L 1 – P H Y S I C A L D E V E L O P M E N T

In relation to Figure 1 I was

attempting to develop the physical

development of the pearl in its most

realistic sense. In both models (figure

4 and 5) I attempted to physically

characterise the parasite, the

coating of it and the end result of a

pearl.

Figure 1: Physical growth of pearl

Figure 2: Exploration sketch 1 (applicable to

figure 4)

Figure 5: Clay model 2 (applicable to figure

3)

Figure 4: Clay model 1 (applicable to figure

2)

Figure 3: Exploration sketch 2 (applicable to figure 5)

S K E T C H P R O P O S A L 1 – P H Y S I C A L D E V E L O P M E N T

My aim with these models was to

further simplify the physical

process, I attempted to

encompass all of the features of

the growth process through the

aid of shape. The form of figure 1

can be clearly seen as a

reflection of figure 2. I chose this

form because the cup- like

shape on the end is

representative of not only the

pearl but also the layers covering

the parasite. In order to visually

communicate the parasite I

created a tail on the end which

looked as though it was wriggling

and merging itself into the cup-

like form.

Figure 1

Figure 3

Figure 2

A gradient of triangles

from smallest to largest

will panel this structure.

This is representative of

pain turning into

something delicate and

beautiful.

S K E T C H P R O P O S A L 2 – D E F E N C E M E C H A N I S M

Primarily pearl formation is the result of the

oyster’s defence mechanism, henceforth in

these models I was attempting to achieve

aesthetics of protection and strength.

Figures 1, 2 and 5 develop the idea of strength

through their length and mass. Figure 2 portrays

the placement of the lantern and how it acts

as a shield of the body yet wraps itself around

areas as if it is comforting the body. On figure 1

I also included a triangle teeth like pattern that

developed the idea of defence through the

harsh, sharp shapes.

Figures 3 and 4 produce an aesthetic of

strength through the coiling of a pipe like

object around what can be interpreted as the

oyster. This develops the concept in a more

literal sense. This idea was further developed.

Figure 3

Figure 1

Figure 5: Corresponding to figure 1 and 2

Figure 2: Corresponding to figure 1

and 5

Figure 4: corresponding model to

figure 3

S K E T C H P R O P O S A L 2 – D E F E N C E M E C H A N I S M

I chose to develop this concept further due

to its pleasing aesthetic values. In figures 1, 2

and 3 it has been altered slightly. I wrapped

the pipe like feature around the head of the

model and it made the model seem

trapped and perhaps a physical

representation of the parasite. I thought the

concept of the lantern would be made

more interesting through making the model

the victim.

P R E C E D E N T : 1 B L I G H P R O J E C T

The Bligh Project is located in Sydney’s

CBD and stands as an extremely

innovative structure. The building has

been deemed a Six Star Green Star

project with a great amount of detail put

into materials and sustainability. In

relation to my modelling, the Bligh

building possesses the same elliptical

shape and encompasses thousands of

beams/panels in order to cater for its

irregular shape, This idea can also be

applied as I would like this model to have

ridged panelling that communicates a

strong and protective exterior.

Figure 1

Figure 3

Figure 2

S K E T C H P R O P O S A L 3 - P E A R L E S C E N C E

I R I D E S C E N C E : I N T E R F E R E N C E I N A T H I N F I L M

According to Thomas Young, iridescent colour is produced through very thin plates/film reflect some incident light waves from the top

reflective surface. The light that is unreflected enters the film and travels until it is reflected off a lower layer.

The light wave that has been absorbed is then reflected in the same direction as the top later and joins it. The light that travels into the film

phases out, if the phase difference between the waves is a multiple of exactly one wavelength then the interference between the two

waves will create a strong reflection of light.

The idea of IRIDESCENCE led to my considering of layers. The nacre is applied in layers which on a smaller scale looks like figures 1 and 2. I

used this idea as again I utilised the model as a substitute for the parasite and repeated similar shapes all over the body (figure 3 and 4).

This idea was further developed.

Figure 1

Figure 4 Figure 3 Figure 2

S K E T C H P R O P O S A L 3 - P E A R L E S C E N C E

I evolved the previous idea into the linking of two pipes, placed on

the model in quite the same way. In this model I was clearly looking

at the linking of the layers opposed to the patterns of the nacre

which could be explored through the panelling of this lantern. This

shape is engulfing the model and almost strangling it in a calm and

silent way which is can be applied to the trapping of the parasite

and the production of a beautiful pearl.

P A N E L L I N G

This artist uses salt to create large floor

installations that have unbelievable control

and skill. Yamamoto talks about the grains of

salt to be colourless, yet only when with other

grains of sand do they reflect and produce

their white colour. This is relative to the atoms

of the Aurora Borealis, through the clashing of

molecules colour is created.

Not only does Yamamoto’s work possess this

connection but it also incorporates intricate

pattern, which on a larger scale develops an

intense effect. I plan to use Yamamoto’s

masterpieces as inspiration for the patterns

involved in my lantern design.

M O T O I Y A M A M O T O

This pattern is a reflection of the

circular patterns that are

apparent on the oyster shell. I just

recreated this pattern with

pyramids and circles. They will be

distributed more frequently in

areas of higher curvature and less

in flatter areas.

On the pipe areas I plan of using the

iridescent surface of the nacre as inspiration.

This panelling will let a lot of light through and

work to effectively refract the light, providing

it with symbolic purpose.

F O R M A N D F U N C T I O N

I finalised on this design

purely because of its very

strong connection to my

original concept. The idea of

using the model as the

parasite/grain of sand was

very appealing and allowed

the model to look as though

it was part of the structure

itself. I think this design

produces both a struggle

and delicacy through the

positioning of the design as

well as the curved lines.

F R O N T V I E W

L E F T S I D E V I E W B A C K V I E W

T O P V I E W

F O R M A N D F U N C T I O N

C R I T I C A L A N A L Y S I S

Tackling Virtual Environments this semester was a challenge for me, mainly due to the mind set we were forced to think in. Through the lectures, readings and tutorials I was challenged to look for patterns in natural aspects of life that I never thought about. After reading Phillip Ball’s ‘Pattern formation in Nature’ it ruined the organic, free and unorganised feel that I believed nature had. However, this was my first impression, after reading Ball’s explanations I realised that it was amazing that all these things were occurring and nature was the best at creating structures that were very much suitable to the surrounding environment. After this realisation it made a great deal of sense that architects, engineers and designers look to nature for solutions to structural and environmental problems. I think instead of looking for solutions in nature, I was searching for inspiration and the process of pearl formation really helped me to provide purpose for my design. I wasn’t able to look at processes in the same way as mathematicians that designs their objects from formulas, but in the same way it helped me to structure my design which was important. I think I found this aspect most interesting as I really enjoyed and understood the inspiration between Giant’s Causeway and many patterns in architecture. In Lecture 4, an architect spoke about how he was inspired by the hexagonal shapes and how he wanted them to reflect in his outdoor room. The most fascinating part is that in no way did he copy this idea but took it as inspiration as he recreated the shapes in shadows more than structure and looked to sustainable materials in order to reflect the landscape. My main way of communicating design is through drawing, Virtual Environments will be challenging for me due to computer and physical modelling aspects. Referring to what was said previously, I enjoy organic shapes opposed to geometrical shapes however Virtual Environments has blurred this line. I am very much excited to get into modelling with materials such as paper, primarily due to the fact that I was amazed by Eric Joisel’s techniques. Joisel proved that through the geometric folding of paper he can literally make anything. This inspired me to believe that I can make something extremely creative in what I thought was such a strict designing method. I think through the introduction of what I believe to be a stricter design process , my design has come out better on the other side. As Poling explored, I think through slowly developing my ideas and going through them step by step I really begun to understand my thoughts and come to a proposal with reason behind it. My final proposal has a lot of aesthetic meaning to it and I believe it also has the potential to be a very visually appealing piece.

R E F E R E N C E S

• Iridescence in Lepidoptera. 2012. Iridescence in Lepidoptera. [ONLINE] Available at:

http://newton.ex.ac.uk/research/emag/butterflies/iridescence_in_nature.html. [Accessed 7 August 2012].

• Pearl Growth Process - YouTube . 2012. Pearl Growth Process - YouTube . [ONLINE] Available at:

http://www.youtube.com/watch?v=HeqtLl4313M&feature=related. [Accessed 7 August 2012].

• Everyday Chemistry - How do oysters make pearls?. 2012. Everyday Chemistry - How do oysters make pearls?. [ONLINE]

Available at: http://www.humantouchofchemistry.com/how-do-oysters-make-pearls.htm. [Accessed 7 August 2012].

• Aurora Borealis Explained - YouTube . 2012. Aurora Borealis Explained - YouTube . [ONLINE] Available at:

http://www.youtube.com/watch?v=1DXHE4kt3Fw. [Accessed 7 August 2012].

• HowStuffWorks "How does the aurora borealis (the Northern Lights) work?". 2012. HowStuffWorks "How does the aurora

borealis (the Northern Lights) work?". [ONLINE] Available at: http://science.howstuffworks.com/nature/climate-

weather/atmospheric/question471.htm. [Accessed 7 August 2012].

• Motoi Yamamoto "Salt Installation, Artist". 2012. Motoi Yamamoto "Salt Installation, Artist". [ONLINE] Available at:

http://www.motoi.biz/english/e_top/e_top.html. [Accessed 8 August 2012].

• Plant Decomposition - Decomposition. 2012. Plant Decomposition - Decomposition. [ONLINE] Available at:

http://decompositionnotes.weebly.com/plant-decomposition.html. [Accessed 11 August 2012].

• Rotting Watermelon Decomposition Timelapse Footage - YouTube . 2012. Rotting Watermelon Decomposition

Timelapse Footage - YouTube . [ONLINE] Available at: http://www.youtube.com/watch?v=S12zZhdOckc. [Accessed

11 August 2012].

• Banana Time Lapse - YouTube . 2012. Banana Time Lapse - YouTube . [ONLINE] Available at:

http://www.youtube.com/watch?v=OmcXo9XC6Uc&feature=fvwrel. [Accessed 11 August 2012].

• IDL_Issue 48 Preview Mag. 2012. IDL_Issue 48 Preview Mag. [ONLINE] Available at:

http://issuu.com/indesigngroup/docs/ind_48_online_preview_pdf. [Accessed 14 August 2012].