HOLLY SAUNDERS

STUDENT NO. 583535 SEMESTER 1/2012 GROUP 7

MODULE 1 - PETRIFIED WOOD

My Design is based off the process involved in the Petrification of Wood.

The Key Elements involved in this process

are: Compression, Tetrahedral Environments, Organic

Decay, Carbon Deposits and Permineralisation.

Of those concepts around the process, I

explored different ideas and came up with

different concepts. Many of which were

unsuccessful.

Permineralisation occurs when timber is felled and exposed to

condensation and pressure which builds up mineral deposits as the

organic matter decays. What you are left with is a gemmed replica of a

tree.

In the top right hand corner is an image of a stylized

copper wire tree mounted on a piece of petrified wood.

The piece was made by Judy Byington, who sells these

clever sculptures online. It is titled “Petrified Wood-Juniper”

and is available at: http://fineartamerica.com

To the left is an image of a cross section of petrified wood.

You can actually still make out the tree rings where the

sediments have formed over time. This was sourced from:

http://www.rainbowpetrifiedwood.com/

MODULE 1 - EXPLORING COMPRESSION

In exploring compression as a part of the petrification process I realised the concept was a very vast one to grasp. It was a bit of a challenge for me to narrow it down. Nevertheless, I did and

it was a precursor to my synergetic outcome.

Above is a quick sketch of a stylized arrow representing two forces moving

towards each other to create a sense of compression. Because they are

identical it is intended that they equal each other in force.

To the right you have circles and spirals complimented by the springs below.

I have experimented with circular

structures and cylinders to

strengthen tensile bonds.

I decided that I could elaborate

further on this concept and so I

developed further ideas to

communicate a more abstract

notion of compression, in order to

symbolise one of the major

processes petrified wood

undergoes.

MODULE 1 - EXPLORING COMPRESSION CONTINUED…

And so, compression rings were implemented into the project alongside other compressive elements. To the left, we see it being combined with a tetrahedron.

Below we see the tetrahedrons as they join together. At this stage they are meant to be an external representation of compression as the pyramids and the concept

of compression tie in unanimously.

The tetrahedrons were meant to overlap each other and strengthen the exterior, like in the example above. Instead when joining the hollow bits up I would run into some design problems getting them to mesh with each other. It would be later on that I would meld them with another concept explored over petrified wood before I came up with a

viable way to tie the compressed tetrahedrons together.

I thoroughly explored the concept of

cylinders, before looking to another

design principal for inspiration.

Compression is also something found

in tetrahedrons.

Instead of cylinders I made the

exterior angular, which allowed me to

still implement compression rings on

top for extra emphasis and aesthetic

appeal.

I also revised and considered the possibility of implementing coils

modeled off the spring examples I presented on the page prior.

To the right you can see strips coiled around concept models which I

was using to explore the concept of compression as my core process.

MODULE 1 - EXPLORING COMPRESSION CONTINUED…

Pressure was another concept I considered when brain-storming over the concept of

compression. I found this overly difficult to represent however because most things that

represent pressure also represent various other principals as well.

Instead I explored it in the specific form of pinching and then opposing that with depression as

seen with my tetrahedral concept.

Uysal Mehmet Ali - Pinching Earth Here we see a visual representation where compression is found in natural environment.

This statue is clever in how it takes an every day item of artificial design and appears to stretch and distort the ground. This was most useful to me in identifying yet another way to manipulate the project in order

to convey the desired traits and principles. It’s a clever yet only semi-abstract way to convey the concept of connecting something together. I do not endeavor to be this obvious in my design. Information acquired from: http://www.saatchionline.com/mehmetaliuysal

MODULE 1 - EXPLORING COMPRESSION CONTINUED…

Pixilation is a way of representing digital compression.

The images below were a good example of pixilation in Sculpture.

The artist responsible for this artwork on the top left is unknown to me,

although that doesn’t change the usefulness of this example. Pixels

make up a very large portion of imagery in our digital era and so it’s

not surprising that people would seek to portray art in this way. These

sorts of artworks can be communicated very effectively despite their

large components. Source acquired from:

http://www.jeanniejeannie.com 2011.

In this sculpture designed by Douglas Coupland

that sits outside the Convention Centre in

Vancouver, I see digitalization of non abstract

elements. This work helps me to explore the

concept further and look at implementing

sketched options to further implement

compression in a more abstract way.

Sourced from:

http://www.weheart.co.uk/2010/07/28/digital-

orca-by-douglas-coupland/

MODULE 1 - EXPLORING COMPRESSION CONTINUED…

To the left is an example of pixilation in architecture. This was

designed by MVRDV and is labeled “The Cloud” after the

pixilated cloud like expansion that only occurs half way up the

towers and connects them.

There is a little controversy over their uncanny resemblance to

the World Trade Centre towers in New York at the point of impact

on 9/11. I believe it’s a very good lesson to learn; that while many

concepts are great to implement there needs to be some

sensitivity and awareness when it comes to designing something

so prominent.

To the right is my attempt to integrate pixilation and aforementioned

triangles to answer my Natural Process.

The greater aspects of it is in the triangular fixtures that sit in each

other and interconnect, and in the ability to expel lots of light from

between them.

Probably the weaker aspects of it is that it only slightly answers decay

and Permineralisation.

MODULE 1 - EXPLORING COMPRESSION CONTINUED…

Voussoir Cloud - IwamotoScott Architecture (Right)

Arches are another form of compression and provide an

aesthetic solution to bearing substantial loads.

It was based off the Voussoir Bricks that are traditionally used

in compression arches according to

http://www.architectmagazine.com/engineering/voussoir-

cloud.aspx?printerfriendly=true

I plan on trying to implement arches as it just about guarantees structural integrity and

makes the model look good. It will also help me answer the compression aspect of my

model.

MODULE 1 - EXPLORING TETRAHEDRONS

Tetrahedrons display compressive qualities and have great structural

integrity. They are as important to the process of petrifying wood as

much as compression is.

To the right is the City Council Building in Tempe, Arizona. It not only

adopts the inverted triangular exterior but also has a mass of windows

that let a lot of light in, which is something I will explore later.

Designed by architects Michael and Kemper Goodwin and

completed in 1970/1. Sourced at:

http://www.tempe.gov/historicpres/HE-HistoricEligible/CityHall.html

To the left is My own development on tetrahedrons. I have thought to

implement holes between tiles and create negative space to tie in with

my next concept: Permineralisation and decay. The tetrahedrons were

going to be overlaid on paneling before I decided it was too intricate and

didn’t answer the process properly.

In the bottom right hand corner I

have included another example of

Modern Architecture adopting Inverted Pyramids. This piece is the

Victoria & Albert Museum in Scotland which was conceptualised by

http://www.rex-ny.com/ This building also admits a lot of light and is

designed specifically as a creative hub.

MODULE 1 - EXPLORING DECAY & PERMINERALISATION

After covering the concepts of Compression and Tetrahedrons, I

moved to the concept of exploring the decay and Permineralisation

that happens to the wood after it falls.

I started to think about all the negative space that I would need to

have in order to make an effective lantern and realised that it ties in

really well with the concept of decay and the way that light reacts

when it hits minerals.

Therefore I opted to explore the different ways I could adapt holes in my work to demonstrate this concept.

In the top right corner is a model lantern by http://www.etruxes.com/architecture/tapered-circles/ which

more or less gives you an idea of how I wanted to incorporate the holes in my paneling. They developed

these holes using the picture below.

What resulted from my research into this

was a lot of experimentation with the way

light plays off models and refracts off gloss

and shiny things.

MODULE 1 - EXPLORING DECAY & PERMINERALISATION CONTINUED…

From left to right I experimented with refraction to

see if it was feasible. After colouring in the

majority of an A4 page of paper black, I held it

under the light but didn’t get the response I was

after.

I next covered it in craft glue and allowed that to

dry with varying textures.

Before it had completely dried though I held it up

under the light and was able to get refracted

light off the page.

This is what helped me establish that I only

wanted a small portion of light to escape my

lantern.

By this stage I realized that I wanted to

consider refraction as a property of

Permineralisation. Realizing that I wasn’t

going to get the effect I was after by

refracting light down a long cylinder of

paper, I decided to consider how I might

overcome this obstacle.

MODULE 1 - EXPLORING DECAY & PERMINERALISATION CONTINUED…

I started to experiment with holes and applying

them to paper and plasticine models.

MODULE 1 - EXPLORING DECAY & PERMINERALISATION CONTINUED…

I started to experiment with different styles to incorporate the concepts together.

From Left to Right, the one on the left explores Compression in angles and layers, Organic Matter in the

tendrils, Permineralisation and decay in the holes scattered about the model. But I wasn’t impressed with

the aesthetics.

The middle model explores decay in compressed layers but doesn’t answer the organic decay as there is

really nothing organic to decay from.

The model on the right explores Tetrahedrons and Decay/Permineralisation but not so much Compression.

MODULE 1 - EXPLORING THE RADIOISOTOPE OF CARBON

Just when I thought I was getting somewhere I brought my ideas to class and got valuable feedback.

I wasn’t able to establish a sensible working model because I wasn’t considering all of the possibilities

that would give me the most complementary form. That answer lay in the Radioisotope of Carbon.

I decided to implement the graphed image of the radioactive isotope as shown below.

This is what I came up with:

MODULE 1 - DEFINING THE ABSTRACTION OF PETRIFIED WOOD

Using the abstractions I was able to come up

with from the Radioisotope Graph; I started to

model a new lantern. This first image to the left

was just the beginning…

…I had designed an answer to

compression with arches, from which the

light of the central shaft shines. I had

answered decay with a tongue that

represented the tree sap on the most

organic section of the model while the tail

was amassed in holes of decay. I had

answered the question of the radioisotope

with the paneling on which those holes sat

and I had answered Permineralisation with

the negative space and light that speaks

of the jewels within…

MODULE 1 - DEFINING THE ABSTRACTION OF PETRIFIED WOOD CONTINUED…

Module 2

But that wasn’t enough. Petrified wood occurs in the ground and my model was designed to be suspended. I also needed

to consider the rate of decay more carefully.

I tried to come up with alternatives, models

that stemmed from the ground and

incorporated sedimentation as well as

Permineralisation. I struggled to revise my

model and come up with a concept that

allowed for earthy sedimentation, as well as

the decay. Although the decay was just

consistent and in no way reflected the

gradual decay or steady process of

compression that produced the minerals in

the place of the organic matter.

I tried thinking about how it would look in

paper form and decided I really didn’t like

the concepts I came up with.

The image on the right, while answering compression, sedimentation and decay, was too

random and hard to replicate in Rhino. It was also not going to easily join together as a paper

model. I didn’t see it being successful. Also, the image on the right is too basic. It is a play with

light and something that stems from the ground but it was only an attempt to create

something that could rise and curve like my former model.

MODULE 2 – Revising and Reshaping

I started to explore layering and came across

different methods of emphasizing decay and

sedimentation through the model. The picture

represented on the left is simply layers and

sedimentation over decay and Permineralisation,

the holes being decay and the light representing the

Permineralisation.

That wasn’t enough so I decided to elaborate. My

concept needed to be something placed on the

ground, and represent compression as well as

sedimentation, decay and mineral growth. What

you can see on the top right is my attempt at

placing a compression ring from the sediment that

encloses the decay and Permineralisation, while also

having the decay and Permineralisation present

outside the sedimentation and explore the rate of

the decay. I scrapped the idea almost immediately.

It didn’t work because it wasn’t layered enough,

and didn’t explain itself as sediment. It also didn’t

explain compression nearly as aesthetically as I

would have liked. This is why I decided not to explore

this concept further.

MODULE 2 – Revising and Reshaping CONTINUED…

I folded a long piece of plasticine over and made it wavy to reflect the

sedimentation as shown in the image at the top left. I then created larger

holes to incorporate Permineralisation and the idea of making them different

sizes was to answer decay. This is seen in the bottom left and right images.

I also decided to make jagged portions to accommodate

crystallization however this was not something I wanted to

incorporate properly. It was also impractical as the design

did not sit but rather, had a pivot point. If I was to expand

on this model it would fan out on the sides and support

itself in a semi-circle.

I felt this was too removed from the process because the

semi circle, the jagged portions, the size of the holes and

the overall modeling requirements would mean that this

model would not sit together and would fall apart under its

own weight, therefore making it entirely impractical.

Inner and outer layers were a way of explaining

sedimentation and inner decay.

MODULE 2 – Revising and Reshaping CONTINUED…

Attempts at layering

my original concept…

Frustrated with the thought of

not being able to represent my

concept properly I continued

trying to render my original

form. To the right are the

images of my first model,

attempting to create a basic

shape that I would be able to

loft and recreate. While

playing with these tools I

managed to blow-up the

organic tongue of my model

as seen on the bottom right. I

loved this concept of layering.

I then attempted to create

the top layer and attach it to

the model but was unable to

do so as I simply lacked the

expertise or understanding of

rhino at this stage.

MODULE 2 – Revising and Reshaping CONTINUED…

Next I decided to play with layers coupled with

tetrahedrons.

The model needed to be based on the ground so I considered a side-

facing model with the joins allowing for holes in stages.

This model was extremely top heavy and was unable to support its

own weight when placed down vertically.

I decided to tear the model open along one side and while the

sediment was portrayed on the outside, I would place a span of

decayed and permineralised webbing on the inside. It was too hard

to do, as the layers were compressive and the webbing would have to

be thin so as to carry the concept and layering and still provide

enough light.

Already this was impractical. I decided not to pursue it due to material

limitations, both in paper and in plasticine.

MODULE 2 – Revising and Reshaping CONTINUED…

Concept Solid Neg. Space Neg. + Solid Light

Decay Black Forms Holes in Black Black Inner Cavity w/

Conical Holes

-

Permineralisation Quadrilaterals Holes in White White Outer Cavity

and Shadowing with

Holes for direct Light

Light

Represents

Minerals

Forming

Sedimentation Horizontal Levels - Layering of Light and

Dark on White +

Black

Emphasizes

Layers

Mineral Deposits Vertical Levels - The abstracted

image of water and

minerals seeping in

towards the decay

Emphasizes

Minerals, (must

be shaped as

a square)

Inner Layer Arches - Black minerals

Outer Layer Inverted V’s - White Minerals,

Sedimentation

and decay

I decided to draw up a table and create some boundaries for my design. The form had to rest on the ground but the priority was to

determine what would rise from the ground to give it shape.

MODULE 2 – Revising and Reshaping CONTINUED…

I adapted my old model with the intention of having it rest on the ground to give a proper representation of where the process occurs. This is what I have based my Rhino models off.

MODULE 2 – Revising and Reshaping CONTINUED…

Developing my skills,

I narrowed down what I needed to start with as a base model.

I created a lofted surface with a tunnel through the middle, again working off my original concept,

though I was exploring how to rest it on the ground. I then turned it on its side and played with the

idea of it sitting on the ground and creating a

curved shape from the ground up. It still had

the compressive cavities underneath which

represented decay and permineralisation on

the inside. It also represents layers and

sedimentation. The only issue is then creating

these contours in paneling tools.

I first tried to create the objects and attach

them to the model in Rhino but quickly found

it impossible.

As you can see on the right hand side,

Rhino does not recognize the added

panels when it comes to paneling a

shape.

I had to delete them and look for another

way around it.

MODULE 2 – Revising and Reshaping CONTINUED…

Experimenting with paneling tools I generated a series

of 3D panels to get a feel for the overall function.

The image at the top was the first attempt. Strangely the offset grid

points fell below the model in two places only. This created a strange

effect that I really didn’t mind.

The second attempt created a bit of a geode concept. With one

side smooth and the other jagged it would nicely represent the permineralisation if the tops of the triangles were sawn off and light allowed to escape.

The third attempt was again triangles but more sparse. I didn’t like this

concept as much if I were to consider representing a geode as part of

permineralisation.

The triangular angles were still so generic and so with the practice I was

getting I was able to consider other options.

Among those that I did like for the way it represented the quadrilateral

holes as mentioned in my table is the image on the bottom right. A

clever render of the image is able to portray a sort of waffle effect,

however my model that I was trying to represent was not shaped like

this so I left it as another concept to be explored at a later date.

MODULE 2 – Revising and Reshaping CONTINUED…

I then practiced with the Variable 3D paneling tools by

bringing in my own patterns.

On the top left is my first attempt and I have used an ellipse.

Although it does not answer my design at all it still gave me valuable insight

into how to panel my model.

The next practice attempt allowed me to rib my design. The ribs are

concave and circular. I really like the effect but unfortunately, unless I

decide to divide my channel of light into varied avenues it will not prove

useful.

The third practice attempt at variable 3D Paneling was to incorporate the

surface texture of my model, however it simply recreated it in a multitude of

little shapes that covered the back of my model. This was not what I was

after as it is too far removed from my main design to be of use to me.

The final attempt at playing with the variable 3D paneling was to

incorporate piping onto the back and underside of my model and play

around with adding and removing components. Part of the layer is missing

from the underside as I learned to ungroup and steadily delete the

unwanted additions.

MODULE 2 – Revising and Reshaping CONTINUED…

Reflection

My model has gone in a different direction than originally anticipated.

Yes it rests on the ground, as opposed to hanging suspended in the air like my original concept

Yes it answers the various trait requirements such as permineralisation, sedimentation, decay,

compression and layering

However, it’s flimsy, it’s hard to model when considering material limitations and I believe there are

different ways to present this concept that have not yet been explored. In exploring different

alternatives and finding new ways to represent these concepts I will be better able to create a true,

but abstract representation of the process of petrified wood.

This is why I have not created a paper model as yet. The structure cannot be supported under its own

weight according to the current design.

I am exploring layering in a new way, considering new layering tactics to allow light out and imply

the assimilation of wood to stone through the intake of sediment laden water.

MODULE 2 – Reflection

MODULE 3

MODULE 3 – Precedents

INGRID SILIAKUS

The reason I have chosen Ingrid Siliakus as one of my

precedents is the way she layers her works and allows the angle

and light to play off the image to give it depth, character and

movement. Using limited amounts of paper, this artist cuts and

forms imagery from the advanced technique of layering that

she incorporates in each artwork. I spend a good while pouring

over her works getting more and more excited as this helped

me explore layering in my own model without worrying about

completely overshadowing entire sections.

SHIGEO FUKUDA

The master of shadow art – Shigeo Fukuda creates all sorts of

displays that really display clever imagery through the use of

shadow.

I particularly liked this one, for the way a scrap heap with birds

turned into a couple of people leaning against each other with

a cigarette and a glass of wine.

Looking at the pile of rubbish you could not have guessed that it

would be a shadow of people but as the light shines, the

shadow explains the arrangement. I would love to incorporate

this in my model. Given time and trial I hope to.

DAVID TRUBRIDGE

After seeing this in Callum’s list of precedents I

immediately began to feel inspired. David Trubridge’s

Three baskets of Knowledge installment is the perfect

example of what I wish to do to properly convey the

process of petrified wood.

This is another portrayal of light through the use of

negative space to create an image that speaks just as

much as the design itself.

The communication of light is so relevant to my work as

it is the symbol for the permineralisation process that

petrified wood undergoes.

I truly love the concept of displaying light through the

artwork to create a climax of meaning and a strong

portrayal of theme which makes that very light a part

of the artwork itself. Negative space and light are two

components I have tried to work with from the

beginning. I truly feel that this could be enormously

successful if implemented correctly.

MODULE 3 – Precedents Continued…

MODULE 3 – The Inspired Design

Thanks to the precedents that I

discovered shortly after the submission of

Module 2 – I decided to play around with

the reflection of light again.

I decided to use the layers from the chart

that I had created in Module 2 and I was

able to develop some interesting

concepts which also helped me play on

the reflection of light that I had found in

Module 1.

Cutting out 4 identical shapes I

constructed a leveled shape that was

meant to roughly look like petrified wood

when light was shone through it.

The layers were a quick throw-together

idea that still represented the wood in its

compression through the sedimentation

and the effect resulted in a pattern on

the ceiling that looked a lot like the

pattern the crystals inside the wood make

when it has gone through the

permineralisation process.

MODULE 3 – Key Components Revisited

I used the paper model I had made as a platform to further

inspiration.

Going back to the tongue I had accidentally created while

trying to model my suspended lantern design, and the

woven pattern with alternating holes that I made in clay, I

decided to try to incorporate those in a model that had 4

layers. These 4 layers represented 4 stages in the Carbon 14

decay cycle. The question was, How do I put this together in

Rhino?

MODULE 3 – New Idea

I decided to have another look at the table, trying to come up with something that really would at least

allow for layering with holes and also playing around with the gaps in levels to portray the decaying

matter.

I had an idea. I experimented with paneling tools with the intention of making 4 layers with larger

to smaller holes from the inside out.

MODULE 3 – New Idea Continued…

Realising that I would be

unable to create those

multiple layers within the

bounds of my working

knowledge I instead

lofted a form which

incorporated the outline

of the layers I was hoping

to create.

In this first attempt I have

created some very sharp

edges and layers that I

have later modified to sit

higher.

I got this idea from my

previous ideas in module 1,

where I have essentially

created horizontal areas that

are riddled with holes. The

intention was to panel this

form and introduce those

holes along the horizontal

planes in the levels.

I experimented with this to

learn what to work with. For

my final model.

MODULE 3 – Fabrication

I worked with the model a little more, tweaking the circular

rings to give the model less of a dip between the vertical

panels as any area that did have holes paneled into it would

be weaker than those that were solid.

I actually had a bit of trouble when I unrolled the model for

the first time. Making tabs was among the hardest part of this

model as I was going t o end up with a part-shadow on the

joins which I didn’t want. The alternative would be to create

tabs on each side of the groups and have those tabs sticking

out inside the model which was also undesirable. I decided I

liked the idea of shading and creating a patched effect.

Therefore I decided to try to cover whole portions of groups

by grouping the triangles next to the groups in a fairly even

way. This would allow the pieces to link in and under greater

light show an alternating pattern of light and dark

The image at the bottom is where I have done just that.

After ungrouping the components, arranging them and

exploding the surfaces I sent it in to the fab lab. Taking heed

of their advice I did create some external edges that were to

be scored only so that the model stayed in the card until i

chose to remove the pieces.

MODULE 3 – Fabrication Continued…

Once I received my model back from

the fablab I raced home to place it

together.

Upon getting it home I realised that the

white paper had a lot of burn marks,

there were palaces that I had indicated

be scored that had received nothing at

all and had be estimated and the pen

likewise didn’t always have a complete

score and so I had an interesting time

trying to piece what I had together.

As a result though, I have realised that

while it would also answer my design

better to use black card, for the simple

reason of aesthetics when using a laser

cutter, it would be better to go with a

card that did not show these when the

model was constructed. Unfortunately

the marks showed on the front and the

back so there was no escaping the

visual blemish.

MODULE 3 – Fabrication Continued…

Here is my model actually being constructed

in stages. The angular tabs matched up to the

group either side of it.

There were a couple of incidents of overlap

which I have since remedied by selecting the

tabs of alternating groups on the right hand

side only.

MODULE 3 – Fabrication Continued…

There were a lot of issues with this model.

Unfortunately without realizing it, some of the

unrolled surfaces were flipped and had to be

turned inside out in order to connect to the

piece before it.

Everything matched up in the end but it did

highlight the areas that weren’t stable

enough as there were too little tabbing and

support to connect them.

The most evident area of the model where

that occurred was the back, around the

holes which I have since gone back and

edited.

Not only were the holes large where they

were supposed to be small, but I could have

done other things to reinforce that area.

I also noticed that on the right side the model

didn’t match up as neatly as it should have.

The other thing I noticed above the structural

imperfections was the lack of black to

represent decay. This would need to change.

MODULE 3 – Lighting

The Light shining in the model is

enough to basically give an outline

but it is not strong enough to

expose the flaws in the work.

This was done using the LEDs that

were acquired from the fab lab.

Then this model is exposed to an

intense light the imperfections and

the reflection are much more

visible which only further highlights

the need for another make-over.

MODULE 3 – Revising the Model

Revisiting the model with a list of changes to make I started by increasing the breadth of card

around the holes. I also gave smaller holes to the outer portion of the model and the larger holes to

the inner section as permineralisation generally occurs from the inside out.

Overall,

I still need to toy with the way the pieces connect, the way the image is displayed through the show of light and amount of light that permeates the lamp. At the moment the surrounding area is too dark What I feel I have answered really well is the way it does sit on the ground. It is like this as the wood in a prone form before the process begins. It is only fitting that my

process starts in the same manner. I’m also proud of the layering. I feel it aptly shows sedimentation. I believe that the use of white in the sedimentation does detract from the decay and so I have decided not to include it in any later models despite my chart. I feel that this is a component that can be sacrificed for the good of the overall concept.

I’m still hoping to develop the decay further but I have done so in rhino with a newer model that takes into account the correct degree of decay down the model and the concept of black to really represent the organic matter. It is the token of saying fading to black to explain to concept of decay or dissipation. I am fairly happy with how far I have come but I feel it does still need more

tweaking and editing before the final model.

MODULE 3 – Critical Analysis

REFERENCES

springs ideas: http://www.masterspring.com/images/compression_springs(bjt042).gif Manganites and Cupite: (researching tetrahedral constructs which gave me an idea for my texture) http://sartbaeva.chem.ox.ac.uk/Research_component.html Inverted pyramids in architecture: http://inhabitat.com/the-victoria-albert-museum-as-a-daylit-inverted-pyramid/va-museum-at-dundee-by-rex-2/?extend=1 also: http://www.rex-ny.com/work/v-a-at-dundee http://www.tempe.gov/historicpres/HE-HistoricEligible/CityHall.html Tension and compression: http://www.mercedes-benz-classic.com/content/classic/mpc/mpc_classic_website/en/mpc_home/mbc/home/museum/impressions.flash.html and http://www.e-architect.co.uk/images/jpgs/stuttgart/mercedes_benz_museum_un131108_3.jpg Coils in structures: http://www.civilengineergroup.com/tension-compression-yin-yang-structural-engineering.html Examples of Petrified Wood: http://www.rainbowpetrifiedwood.com/ For the purposes of emphasizing the negative space in order to show degeneration of organic matter I have opted to introduce holes. These holes harbor the light and allow it to glow through.. this is sort of what I was thinking of. Sort of. http://www.etruxes.com/architecture/tapered-circles/ To explain the radioisotope of Carbon: http://www.yellowtang.org/images/carbon_isotope_b_c_la_784.jpg Pixelation http://www.weheart.co.uk/2010/07/28/digital-orca-by-douglas-coupland/ http://cdnimg.visualizeus.com/thumbs/2b/0d/compression,humour,motivational,poster-2b0ded17843e7401263f6276ebbe5a63_i.jpg http://www.jeanniejeannie.com/wp-content/uploads/2011/01/pixelpour22.jpg http://inhabitat.com/the-cloud-mvrdvs-luxury-twin-towers-joined-by-a-lush-pixelated-cluster-in-seoul/the-cloud-mvrdv-1/?extend=1 Carbon-14 Radioisotope http://www.bbc.co.uk/schools/gcsebitesize/science/images/addgateway_graphccad.gif