Nhi Vuong #633889Visual Environments (ENVS10008) Semester 1 - 2013

Patterns in Nature

There always exists a certain pattern/relationship within an object, whether it is natural or artificial. This, however is not always obvious and often requires close observa-tion and examination. One could almost instantly identi-fy the similarities in sizes and shapes of each of a flower’s petal, yet not many are aware that trees - plants that look arbitrary and vary widely - all apply the same rule to their growth regarding their branches and leaves.

In this particular journal I decided to choose ripples of sand as my main pattern. I have always been fascinated by how breezes that have no shape or colour could influence the shape of a desert filled with sand, forming such continuous curves which could go for miles.

Exploration

The chosen image for sand pattern is placed on the right. It captures closely what these lines look like, the affect of sunlight which seper-ates them into multiple layers. As you can see they are unanimously parallel to each other despite the differences in length and width.

After examining the pattern chosen for a while and reading through “Poling – Analytical drawing” by Kadisky, I realised there is an un-canny resemblance between the sand curves and tangent lines in Geometry. This suggests that the wind blows through the area fol-lows a system of almost straight lines rather that typhoons or heavy storms where the wind direction changes now and then.These curves also come in pairs facing each other, creating inter-nal symmetry and balance naturally. The light that divides each of these sand curves into multiple layers also creates a balance in terms of colour (dark vs bright).

According to Kandinsky (Clark Pooling - Analytical Drawing), the very first step in Analytical drawing is to be able to identify con-cealed relationships in the midst of chaos. Noticing the similar shape of the curves as well as the symmetry between each pair proves to be significant in order to advance to the next stages.

Breaking down the relationships between these lines is crucial by re-ducing them into vertical, horizontal and/or diagonal lines. In my ex-periments these lines were first formed by sets of straight lines, then followed the waves as the image suggests.

Finally, it is the student’s job to turn these vectors into spatial im-ages by manipulating these newfound patterns, turning them into a more abstract and perhaps complex. It provides a new under-standing as well as another perspective regarding the nature of this particular pattern.

ExperimentsBalance and Symmetry

Blending was heavily used in all 3 of my analytical drawings as it works based on different connections between the lines. For Balance and Symmetry, curves representing sands are grouped into symmetrical pairs, then placed alternatively as below to create a harmonious rela-tionship.

ExperimentsMovement

As for Movement, the curves are bent according to 2 randomly drawn diagonal lines. The space between these curves is also manipulated to become sparser to represent motion. I find this particularly challenging as it is exceptionally dif-ficult to depict movement in a 2D, unanimated way. The result is not very satisfying as it somehow still feels quite flat and motionless. The reduced number of lines as well as lack of gradient also contribute to this inactivity of the pattern.

Weaving could come out useful in this situation. During freetime I shall explore more techniques in order to improve this piece.

DevelopmentPattern - Model Making

1. 2.

I began constructing my model by cutting out 3 pairs of strips of papers of different lengths and same width as photo 1. The shortest ones are 9cm long, the medium are 12cm and the longest are 15 cm. All have a width of 1cm. The dotted lines indicate where these strips of paper would be stuck together, and all bear a length of 1.5cm at both ends. The two ends were glued together with extreme accuracy, then I motioned my hands closer and further for a few times to give these strips some elasticity. The curvy section in the middle, at the same time, was slowly gaining the form that I desire. The result of a perfectly executed piece of pattern is shown in photo 2.The same process was then repeated for other pairs of strips. After having done a few, I started to assemble these seperated components into one whole sample. This proposed another challenge as once again precision is required, otherwise the entire model would be crooked with uneven surfaces

DevelopmentPattern - Model Making

The whole process took me about 2 hours to finish. As we can see the curves start to lose their original, intended shape as more and more are attached together. This could be the result of the medium quality of the paper that I chose to work with, or that the measurements are not accurate enough, causing inequality in each component. The fact that each curve was arbitrarily formed plays another important role as the angles the degrees of the loops vary. Hence many of them are not incorporated well together. The experiment was, nevertheless, very enjoyable and helpful in improving my method of forming the patterns.

The pattern, on the other hand, was very easily manipulated into differ-ent shapes - an advantage when try-ing to bend and explore the overall shape for my lantern. On top of that, the flexibility of each loop proven use-ful in expanding one element of the lantern without compromising much of the pattern’s original state.

DevelopmentPattern - Rhino-based

It took me a while to utilise the software fluently with the help of various tutorials posted on the LMS, and finally I managed to trace the curves using the original picture of my chosen pattern and the command Pictureframe. As the image on the left depicts, I successfully outlined the shape of these ripples in the sands. The next step is extruding curve which would be demonstrated below.

The curves are then extruded with the height of one centime-tre. At first there were overlapping curves due to the inaccura-cy of my tracing, and therefore when extruded they were on top of one another, producing an uneven surface. Rhino can be handful at times, yet its efficiency is undeniable. On the left is the screencap of the base image after all the curves are ex-truded and fixed. As you can see there is a slight pattern in the ripples, particularly those in the middle of the photo - they are usually braanches of an original line which is another branch of another line. This process is repeated endlessly, hence the miles of ripples of sand on desert or beaches. Patterns are af-terall, as mentioned by Phillip Ball, formed from the most sim-ple rules. Adding some touches of the Mother Nature and we are given what is seemingly spontaneous and unsystematic.

DevelopmentPattern - Rhino-based

I then moved a small curve out of the original base extruded lines to further develop the idea. This time I decided to close both ends of the curves, shortening their lengths as it would be more applicable this way. Both Copy and Paste commands were heavily maneuvered to construct a repetition of shapes. The three different sizes of the curves were also thought of when the cropped image was produced as at the two corners of the photo, the curves were significantly shorter than the ones in the middle. Once one section was done, I joined them together and then came the two aforementioned commands. The final product is as shown on the left and below. As we can see the ends of the curves sometimes are still invis-ible as they were not assembled into closed curves as I wanted them to. This would be fixed when the actually model.

Due to my inexperience with Rhino, it took me quite a long time at the lab to get such simple steps done. More prac-tice and, perhaps, tech sessions are needed to improve the skills that I still lack.

Precedent StudyAnti-smoking Centre - Paris

The building promoted the idea of having a more sustainable en-vironment in France, and more generally in our world as a whole. Vincent Callebaut - the architect in charge of this project - has in-corporated the greens into the building using various advanced techniques and technology. It was built in 2007 to emphasise the importance of nature in our lives. Not only so, it takes a step further to actually accomplush the concept of harmony between humans and Mother nature, proving that we don’t have to destroy our habi-tat for the sake of art.

The pattern used on the roof bears a striking resemblence to that of mine, making this a prioritised case to study. The design on the cy-lindrical building is more similar to my emergent form though not as curvy, while the on the elliptical has more layers to it, constructing a more complex pattern to the overall roof.

The techniques of weaving and packing were applied onto this case to form such kind of patterns onto the roof. For the cylindrical building, it’s the intersection of lines that divide the surface into equally hollow diamond-shaped windows. The ellipse inserted in each of these gaps perhaps is to link a certain connection between the two buildings - a friendly reminder that they come in pair rather than two individuals just happened to be put next to each other.Similarly, the inner layer of the pattern on the other edifice’s roof is shaped in diamond forms, possibly constructed using the Tiling method of joining points, lines and so forth. They then are alternatively placed by weaving, resulting in a tight-knitted structure to the overall structure.

Precedent StudyAnti-smoking Centre - Paris

It is possible that Callebaut drew his inspiration from the weaving straws of an animal’s nest, seeing how they could hold a certain amount of weight. This is even more applicable when the purpose of the design is to utilise as much natural energy as possible by making use of the hol-lowness of the pattern, hence allowing sunlight to shine through during the day. The shape of an ellipse could also be from the nest or the egg itself, once again relating to the nature and its inhabitants. The multiple layers of repeti-tive curves could be an attempt to fabricate arbitrariness and randomness. The windows are also shielded from ul-traviolet rays from the sun using special type of glass as well as screens, enabling the users to enjoy the sunlight while not having to worry about getting cancer or other skin diseases.

The problem arises for this type of pattern is that it is not extremely unique and the overall structure of the building, particularly those glass need to be meticulously calculated to avoid collapse. Hence the material chosen plays another crucial part in constructing this edifice - not only does it have to be environmental-friendly but also secure in a sense. Perhaps another layer of lines or patterns slightly differ-ent to this would create more dimensions while being more firmly held.

Development Lantern - Model Making

2. 3.

1. The idea I had ever since the beginning was to create a cuvy lantern as it would look smoother as well as more feminine. Since I came unprepared to the seminar last Tuesday, I was certainly behind eve-ryone in terms of developing basic forms for the lantern. I went to find inspiration from nature (around the Lincoln Square) that would trigger my creativity. In the end I came up with these 3 designs that I felt quite content with.

For the first model, rolls of clay were put together, creating an over curvy shape. This was mainly based on one of the most well-known crustaceans - prawns and its elongated body. This enables one to hold the lantern easily while maintaining the vertical form. Each element has 2 loops inside, forming a more dimensional effect for the lantern.

As for the second model, I decided to do something less arbitrary. I started off with twirling 2 curves, one thinner than the other, then assembled those together. The result is two 2 strips of clay covering the gaps that the other makes. This, however, is not too innovative and extreme fragile when being held.

Aspiration arised when I saw a withered leaf on the playground at the square that has an unusual curl to itself, hence the shape of model 3. It, as shown, hollow in the middle where lightbulbs can be insert-ed. This model is the simplest out of the three - quite dull and unstimulating, and it would be quite fragile when made of pap

Development Lantern - Finalising Form

The model chosen is decided to be model no.1 of the Develop-ment process. According to this model, 5 parts of the “body” would be developed by twirling strips of papers into 2 or more loops. These then are assembled together (by a particular method which would later be considered) into the curly prawn-like body. This model is the most original and firm out of the three, as well as easily held and handled. The weight would also be equally contrib-uted to form an overall balance for this lantern, avoiding tipping out of one’s grip.

Rather than having a full slit onto the fragile pieces of papers, I plan to poke these sheets, forming small dots in line to create the pat-tern and reduce the likelihood of tearing the paper into fragments while making the lantern. It also is based on my desirable effect that I would later on introduce.

This is, so far, my most reasonable design out of the three afore-mentioned experiments. I opted to focus more on the effect that this lantern could produce despite the first impression of simplicity and/or dullness one might have of it.

Development Lighting - Desired Effect

The desired effect I want to create would be best described as the “lights at the end of the tunnel” (literally); a lighthouse with the beacon lights that guide ships on the ocean; or even lights in an omi-nous forest as the photo on the right.

As a result I intended to use black sheets of paper (instead of white) to form the lantern. The contrast between the darkness of the surface of the lantern and the small holes that let the light escape would, hopefully, generate similarities and/or reminder of the deliberate impact. The multiple layers of light shining through the outer surfaces would also vary, resulting in a more natural replica of the organic lighting. The holes poked onto the sheets of paper used for the lantern could also differ in sizes (by not much) in order to achieve such overall mood. This, nevertheless, is still a thought that needs to be fur-ther experimented.

Development Lighting - Sketches and Experiments

Below are the sketches and the tested piece of paper that I experimented on my desk lamb. The design was based on what was developed through these sketches and wrapped around the light to assess the potential effect it can cause. The result turns out to be quite fascinating and close to the notion I had of what would occur. The pattern was placed vertically along the strip of paper creating a uniform formation overall. The negative characteristic of this is that these slits are quite slim, and if the lantern is to be enlarged the current size of them would hardly let any lights shine through. In the end it was definitely useful in helping me to further identify the constraints that still exist in the process of refining this lantern.

Bibliograpghy

1/ http://fc01.deviantart.net/fs50/f/2009/313/4/f/Lines_in_the_sand_by_Midge_cat.jpg

2/ http://pcdn.500px.net/12683967/927d808b1679029ef73fc58f4c636f94620a2cb8/4.jpg

3/ http://patternizer.files.wordpress.com/2010/05/chameleontail2.jpg

4/ http://cdn.c.photoshelter.com/img-get/I0000zoLSjIEzhlY/s/900/900/Patterns-in-the-sand.jpg

5/ http://www.wired.com/images_blogs/wiredscience/2010/09/fractal_9b.jpg

6/ http://rosafrei.photoshelter.com/image/I0000bmEt57HM4Eo

7/ Pooling, Clark (1987): Analytical Drawing in Kandinsky’s Teaching at the Brahaus, Rizzoli, New York, pp 107-122.

8/ http://crazy2world.blogspot.com.au/2010/11/anti-smog-center-brings-cleaner-air-to.html

9/ Ball, Phillip (2012): Pattern Formation in Nature, AD: Architecture Design, Wiley, 82 (2), March, pp. 22-27.

10/ http://www.dec.ny.gov/images/administration_images/0807ODsun.jpg